. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. - depends the condition of themoral nature. Thistemperament is there-fore called not onlythe motive and JiigherCDiotive, but also themoral. See againpage 112. Having considerednow the significanceof these movements,as determined by their physical sources, let us con-sider that of their directions as influenced by themental aims of expression. All that can be said here, ofcourse, must be founded upon observation, and a verylittle observation, when aided, as fortunately it can beby the system of
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. - depends the condition of themoral nature. Thistemperament is there-fore called not onlythe motive and JiigherCDiotive, but also themoral. See againpage 112. Having considerednow the significanceof these movements,as determined by their physical sources, let us con-sider that of their directions as influenced by themental aims of expression. All that can be said here, ofcourse, must be founded upon observation, and a verylittle observation, when aided, as fortunately it can beby the system of Delsarte, especially as developed byhis many followers in our own country, will convinceus that expression, in the degree on which it is purelyvital, leads to movements outward and upward from thebody, life always having a tendency to unfold from the. FIQ. 68.—DROWNING page 129. J^ THROUGH POSTURES. 129 internal*to the external. When a man, as in drowning,loses vitality, his thumb and Answers bend toward the palm,and his hands, arms, legs, and head toward his trunk(see Fig. 68, page \2%). But where his body is full oflife, there is an instinctive and unconscious overflow ofactivity for which all the agencies of expression seem tobe chiefly engaged in furnishing an outlet through move-ments chiefly upward and outward. A child jumping andSfesturincj alonCT the street, with no onenear to embarrass him or make himthink of his actions, will sufficientlyillustrate this statement (see again , page 60). Purely mental expression, on the con-trary, tends to movements in the samedirections as the non-vital; but theydiffer in that they are made more con-sciously and emphatically. When oneis absorbed in reflection, or is contem-plating an object with a view to study-ing it, he draws his head and handstogether, hi
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