. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. -Cx^ FIQ. 89. WALKING WITH UPPER CHEST AND BROW IN ADVANCE. See pages 145, 147,148, 169, FIG. WITH FACE IN ADVANCE. See pages 148, 167, 171. REPRESEiXTATIOS^ THROUGH GESTURES. 149 both mentality and great excitement. But, for a contraryreason, the same parts of the frame held in a straight up-right position indicate that they are under the sway ofthat intelligent self-control which results when one feelsthe dignity and seriousness of life and its represent
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. -Cx^ FIQ. 89. WALKING WITH UPPER CHEST AND BROW IN ADVANCE. See pages 145, 147,148, 169, FIG. WITH FACE IN ADVANCE. See pages 148, 167, 171. REPRESEiXTATIOS^ THROUGH GESTURES. 149 both mentality and great excitement. But, for a contraryreason, the same parts of the frame held in a straight up-right position indicate that they are under the sway ofthat intelligent self-control which results when one feelsthe dignity and seriousness of life and its represent emotions used or influenced in a goodsense morally (Fig. 93, page 151, and Fig. 28, page 62). We pass on now tothe interpretive move-ments of the hands andface, taking first theformer, both becausethey are more closelyallied to the physical,and, because, when un-derstood, they renderthose of the face moreeasy to explain. Merewe shall follow an orderof thought correspond-ing in general to thatalready pursued, by con-sidering, first, the place,as we might say, in thephysical sphere, about,bclozv, or above thebreast, from which theeffect of the gesture when struck is produced ; second, thes
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