. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. at 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


. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. at 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, theshape of the hand, distinctively interpretive in its nature,which is assumed at the stroke of the gesture ; and, lastly,the movement of the hand toward the body or away fromit as it is conveyed by the arms to the place where thestroke is FIG. 91.—FAITH, HOPE, AND pages 147, 148, 151, 162, 169. I50 PAINTING, SCULPTURE, AND ARCIIITECTUKE. With reference to this place, which, as has been said,we are to consider first, notice that it may extend thephysical sphere of the man, to those standing in front of


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