. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. signifi-cance of the story thus indicated by the mere appearanceof the figures. Notice, again, H. Stacy Marks Authorand Critics (Fig. 29, page 63). The postures and facesin this indicate at once, and better than words could, pre-cisely what the whole means,—the authors self-satisfiedenthusiasm, as v/ell as the humiliation that may await himif by-and-by, when he comes to a pause, his hearers beginto have their say. Notice, too. Fig. 161, page 273, a pic-ture which was in the Chicago Columbian Ex
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. signifi-cance of the story thus indicated by the mere appearanceof the figures. Notice, again, H. Stacy Marks Authorand Critics (Fig. 29, page 63). The postures and facesin this indicate at once, and better than words could, pre-cisely what the whole means,—the authors self-satisfiedenthusiasm, as v/ell as the humiliation that may await himif by-and-by, when he comes to a pause, his hearers beginto have their say. Notice, too. Fig. 161, page 273, a pic-ture which was in the Chicago Columbian Exhibition andis used here by kind permission of its owner, Mr. Charles T. PJ/.Vr/.VG AS IXTERPRETIXG ITSELF. 271 Yerkcs. No man can affirm that the painter of thepicture, Van Beers, disregards the requirements of ex-ecution. But, for all that, one cannot look at it long,without having his attention drawn to its significance, asignificance, too, that, at once suggests its source in theartists own inventive brain. A fashionable woman of theworld has left her carnage in charge of her coachman and. FIG. 160.—CARD PLAYERS. CARAVAGGIO. See pages i6g, 172, 270. footman and has seated herself in the park on a benchlarge enough for two. She is apparently waiting for some-thing, probably for some one. Who is it? Of whom isshe thinking? What is the ideal enthroned over herreverie? Just above her is a statue of a man withouta head, but holding, where his mouth should be, a 272 PAINTING, SCULPTUKK, AND ARCIUTECTUKP. flute. Why SO ? Think a moment. Is he not just whatsuch a woman would want?—such a man without a headwho nevertheless is ready to pipe for her? Where is therepresentation of time in this picture? Yet it outlines astory as clearly and completely as one of Heines was said on page 248, of Raphaels School ofAthens (Fig. 156, page 249), as also of Kaulbachs Reformation, and, on page 265 of the hitters Destruc-tion of Jerusalem, and of Guidos Aurora (Fig. 34,page 71),
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