. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. -. Why it seemsso can not always be told, except by one accustomed toanalyze such effects. Fig. i8i, page 331, represents asmall beam at a corner apparently intended to hold up aceiling. But a ceiling as heavy as this, if really held up. FIG. 179. —MAIN BUILDING, UNIVERSITY OF PENNSYLV, pages 327, 331, 355, 371. thus, would certainly snap the beam and fall, inside ofthree minutes. It is worth noticing, now, that the violation of the prin-ciple of representing the method of construction
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. -. Why it seemsso can not always be told, except by one accustomed toanalyze such effects. Fig. i8i, page 331, represents asmall beam at a corner apparently intended to hold up aceiling. But a ceiling as heavy as this, if really held up. FIG. 179. —MAIN BUILDING, UNIVERSITY OF PENNSYLV, pages 327, 331, 355, 371. thus, would certainly snap the beam and fall, inside ofthree minutes. It is worth noticing, now, that the violation of the prin-ciple of representing the method of construction in atleast four cases, and, perhaps, in all those that have beencited, is owing, as is this last, to a use of concealed iron. 330 PAINTING, SCULPTURE, AND ARCHITECTURE. This is one reason for the effect of the pillars in Fig, 177,for that of the tower in Fig. 180 and, possibly, also for thatof the tower in Pig. 178. In all these cases, too, the exercise of a little more con-structive imagination would probably have prevented thearchitect from making his forms appear to be what theycould not possibly be in reality. The effect in Fig. 181 of aheavy roof, for instance, could be obviated by the simple expedient of enlarging thecorner beam. But a moreradical and, for this reason,thorough way of correctingthe error would be to avoid
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