. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. 128—DISAPPOINTED pages 174, 175, 179, 183, FIQ. 129.— pages 173, 183, 184, 185, 1S8. and hostility combined which in various degrees indicatefright, horror, rage, and fury, as in Figs. 132, page 188;133, page 188; 121, page 181; and 122, page 181. The eyes, considered by themselves, also have corre-sponding effects. Slightly closed, they indicate a criticalmood, which is unwilling or, at least, hesitates either toreceive or to impart (Figs. 102, page 171 ; 107, p
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. 128—DISAPPOINTED pages 174, 175, 179, 183, FIQ. 129.— pages 173, 183, 184, 185, 1S8. and hostility combined which in various degrees indicatefright, horror, rage, and fury, as in Figs. 132, page 188;133, page 188; 121, page 181; and 122, page 181. The eyes, considered by themselves, also have corre-sponding effects. Slightly closed, they indicate a criticalmood, which is unwilling or, at least, hesitates either toreceive or to impart (Figs. 102, page 171 ; 107, page 174;123, page 182). Wholly closed, as in contrition and grief,they denote a positive wish to do neither (Fig. 80, page 139 ; REPIiESEXTA T/OX 111 ROC Gil HEAD AXD FACE. 18/ Fig. lo8,page 174). In their normal open condition, withthe hds sliglitly falling and the brows unwrinklcd, theyindicate an open mind (Fig. 59, page 109). Expandedslightly by wrinkles at the sides and underneath, theyindicate a welcome to that which is pleasant in the sur-roundings (Fig. 127, page 185). Expanded slightly up-ward, with the lids and brows both lifting, they indicate KA
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Keywords: ., bookcentury1900, bookdecade1900, bookpublishernewyorkgpputnamsso
