. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. page loi. REGULARITY IN OUTLINES. lo-. FIQ. 56.—FACIAL page loi. instance, in Raphaels St. Margaret and St. Michael,Fig. 58, p. 104. But the same principle is applicable notonly to groups of faces or figures, but,in each of them, to groups of in certain of these, ifnot greatly pronounced, though itmay be altogether too decided torender possible any method of sup-posing them to be regular, may addat times not only to the interest,
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. page loi. REGULARITY IN OUTLINES. lo-. FIQ. 56.—FACIAL page loi. instance, in Raphaels St. Margaret and St. Michael,Fig. 58, p. 104. But the same principle is applicable notonly to groups of faces or figures, but,in each of them, to groups of in certain of these, ifnot greatly pronounced, though itmay be altogether too decided torender possible any method of sup-posing them to be regular, may addat times not only to the interest,but even to the charm of the formin which it appears. Like thestronger shading of a line or colorthat enlarges the apparent conditionof a factor for the purpose of em-phasizing it, or of taking emphasis from some othernear factor, irregularly may thrust upon attention thatwhich thus interprets the meaning of the whole, andrenders it in the highest sense repre-sentative. The expression of mere in-dividuality alone necessitates having notwo forms or faces in the world exactlyalike. Yet thousands of them may beequally beautiful; and tens of thou-sands, though not
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