. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. s the introductionof living figures. This brings us to that department ofpainting in which the necessity of planning for signifi-cance is most unmistakable. Of living figures, first of all,perhaps, ought to be mentioned animals. That thesemay be made to represent significance needs no proof toany one who has seen any of the typical pictures of Land-seer (Fig. 158, page 263). There are those who object tohis way of indicating correspondences between the expres-sions and positions of dumb beasts
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. s the introductionof living figures. This brings us to that department ofpainting in which the necessity of planning for signifi-cance is most unmistakable. Of living figures, first of all,perhaps, ought to be mentioned animals. That thesemay be made to represent significance needs no proof toany one who has seen any of the typical pictures of Land-seer (Fig. 158, page 263). There are those who object tohis way of indicating correspondences between the expres-sions and positions of dumb beasts and of human beingsplaced in similar circumstances. lUit the fact remainsthat he introduces the significance at which he aimswith no detriment to his imitative effects. His dogs are PATXTIXG .IS IXTERrRETIXG ITSELF. 263 real dogs ; and, besides this, no one can dcn\ that his suc-cess in making them expressive of thought and feelinghas added greatly to the characteristics making theminteresting and charming; and this to those, too, who arcqualified to judge of them as works of art. Usuall)-, how-. 158.—DIGNITY AND IMPUDENCE. LANDbhLK. See pages 262, 263. ever, the forms of animals, as well as of inanimate nature,are rendered significant most effectively when presented inconnection with the forms of human beings, as in Figs. 22,page 50; 35, page J2 ; and 94, page 152. We now come to the faces aru-l figures of men. Of 264 PAINTING, SCULPTURE, AND ARCHITECTURE. course, it is easy enough to perceive how pictures of cer-tain of them should represent significance. But it isnot clear that to do this is possible, or even desirable,for all such pictures; or that their rank should be deter-mined by the degree in which they attain this end. Inwhat sense, for instance, can a portrait of one whom wehave not known, or the supposed portrait of some historicor mythologic personage, be made to tell its own story,or enough of a story to satisfy the demands of interest?How could either be made o
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