. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. 146 PAINTING, SCULPTURE, AND ARCHITECTURE. 146). But if he bring the foot up in a Hne horizontal withthe knee on which it rests, and begin with his hands torub and pat his lower limbs, even his mentality has beenpressed into service to aid the emotively vital nature ofhis expression (Fig. 87, page 146). The straddle and thestride are caricatures of the parallelism of the straightline, which straight line, as has been indicated, is usuallyrepresentative of reflective self-control. So, though the
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. 146 PAINTING, SCULPTURE, AND ARCHITECTURE. 146). But if he bring the foot up in a Hne horizontal withthe knee on which it rests, and begin with his hands torub and pat his lower limbs, even his mentality has beenpressed into service to aid the emotively vital nature ofhis expression (Fig. 87, page 146). The straddle and thestride are caricatures of the parallelism of the straightline, which straight line, as has been indicated, is usuallyrepresentative of reflective self-control. So, though the. FIG. 85.—EXPRESSION FIG. 86.—EXPRESSION WITHWITH THE FOOT. THE FOOT AND LEG. See pages 130, 145. See page 145. FIG. 87.—EXPRESSION WITHTHE FOOT AND KNEE. See page 146. one who assumes them may imagine that they are morallystrong, we merely laugh at him. The order in which we are to consider the parts of thebody obliges us to postpone noticing the manifestationsof the conditions of thought through the use of the handsand head, until after ending what is to be said of the rest ofthe form. Accordingly these two need mention here merelyso far as they are used conjointly with other has been said, for instance, that the lower torso is the RFPRESENTATION THROUGH GESTURES. 147 seat of the vital and physical, and the upper of the emo-tive and moral nature. This distinction may enable us togauge the controlling motive. See the position of thedrunkard in Fig. 88, page 147, also of the man in Fig. 27,page 61. In Fig. 83, page 144, the side emphasis of thehips is evenly balanced b
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