. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. PRIDE. See Images 167, 176. See pages 177, 1S5. FIG. CONFIDENCE. See page 177. (Fig. 103, page 171), or, if accompanied by a sneer, anegotistic or contemptuous mood (see the man at the rightin Fig. 29, page 63), or, if accompanied by a troubledlook, an agCTrieved or affrightedmood, as in those at the left ofAnanias in Fig. 39, page 79. If, while the head is held back,the eyes with a satisfied look bedirected to one side to a persontoward whom the forehead lean
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. PRIDE. See Images 167, 176. See pages 177, 1S5. FIG. CONFIDENCE. See page 177. (Fig. 103, page 171), or, if accompanied by a sneer, anegotistic or contemptuous mood (see the man at the rightin Fig. 29, page 63), or, if accompanied by a troubledlook, an agCTrieved or affrightedmood, as in those at the left ofAnanias in Fig. 39, page 79. If, while the head is held back,the eyes with a satisfied look bedirected to one side to a persontoward whom the forehead leans,this indicates that thought has aleaning toward that person. Itrepresents confidence, especially inhis judgment (Fig. 116, page 177),and, as the head is held back, men-tal assurance that the confidence is not misplaced. If, however, the eyes have a frightenedlook, this position may represent the extreme of fear. FIQ. 117.— pages 167, 178. 178 PAINTING, SCULPTURE, AND ARCHITECTURE. in view of that to which mentahty finds itself obliged tosurrender (Fig. 132, page 188). If with the head held back the eyes gaze downward,and the chhi be in advance, the man has waived the ex-penditure of thought upon a subject because he conceivesof it as sociably, intellectually, or morally below the levelof his sight, comprehension, or control. The position when very emphatic indicates dissenttogether with unwillingness to weigh evidence (Fig. 112, page 176) ; also, to one lookingbackward too, haughtiness, su-perciliousness, impudence (, page 177), and, in a hos-tile countenance, contemptuousrage (Fig. 122, page 181). Butif the brow be in advance, itindicates that, while the manstill conceives himself to bemaster of the subject, he is will-ing to expend his mental ener-gies upon it. Notice the sug-gestion of moral superiority,though connected with an ap-peal to reason, in the man mak-ing th
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