. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. 129.— pages 173, 183, 184, 185, 1S8. and hostility combined which in various degrees indicatefright, horror, rage, and fury, as in Figs. 132, page 188;133, page 188; 121, page 181; and 122, page 181. The eyes, considered by themselves, also have corre-sponding effects. Slightly closed, they indicate a criticalmood, which is unwilling or, at least, hesitates either toreceive or to impart (Figs. 102, page 171 ; 107, page 174;123, page 182). Wholly closed, as in contrition and grief
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. 129.— pages 173, 183, 184, 185, 1S8. and hostility combined which in various degrees indicatefright, horror, rage, and fury, as in Figs. 132, page 188;133, page 188; 121, page 181; and 122, page 181. The eyes, considered by themselves, also have corre-sponding effects. Slightly closed, they indicate a criticalmood, which is unwilling or, at least, hesitates either toreceive or to impart (Figs. 102, page 171 ; 107, page 174;123, page 182). Wholly closed, as in contrition and grief,they denote a positive wish to do neither (Fig. 80, page 139 ; REPIiESEXTA T/OX 111 ROC Gil HEAD AXD FACE. 18/ Fig. lo8,page 174). In their normal open condition, withthe hds sliglitly falling and the brows unwrinklcd, theyindicate an open mind (Fig. 59, page 109). Expandedslightly by wrinkles at the sides and underneath, theyindicate a welcome to that which is pleasant in the sur-roundings (Fig. 127, page 185). Expanded slightly up-ward, with the lids and brows both lifting, they indicate. FIG. AND ASTONISHMENT TRACTION OF FRONTAL MuSCLES. See pages 186, 1S7. FIG. 131. SORROW : Superciliary Muscle. See pages 185, 186, 188. a welcome, either free or enforced, to that which is im-portant, the vertical direction here as elsewhere being themotive or moral one (Figs. 104, page 172 ; 118, page 178 ;125, page 184). When this expansion becomes moremarked above the eyebrows, and the muscles causing itbecome more rigid, expectancy, surprise, amazement be-gin to be expressed (Fig. 130, page 187). In the last effect I 88 PAINTING, SCULPTURE, AND ARCHITECTURE. there begins to be much wrinkling of the forehead abovethe eyes. When, in addition to this, there comes to bea contraction of the forehead, bringing the brows nearertogether, the idea of concentrating thought upon the causeof amazement, which is now considered serious, is intro-duced, and we have fright (Fig. 132, pa
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