. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. 3.—MELROSE ABBEY, pages 25, 26, 32, 34, 203, 322, 380, 3yo. and can consequently bear a heavier weight or, as we say, isstronger. It is evident, therefore, that comparatively largelimbs, like those of the Farnese Hercules, Fig. i, page 20, RErKESEATATION BY EXTENSION OR SIZE. 25 and large pillars like those of IMclrosc Abbey, Fig. 3,page 24, necessarily suggest, by way of association, suchconceptions as Jicavincss, strength, inwiovability, or sjibstan-tiality ; whereas compara
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. 3.—MELROSE ABBEY, pages 25, 26, 32, 34, 203, 322, 380, 3yo. and can consequently bear a heavier weight or, as we say, isstronger. It is evident, therefore, that comparatively largelimbs, like those of the Farnese Hercules, Fig. i, page 20, RErKESEATATION BY EXTENSION OR SIZE. 25 and large pillars like those of IMclrosc Abbey, Fig. 3,page 24, necessarily suggest, by way of association, suchconceptions as Jicavincss, strength, inwiovability, or sjibstan-tiality ; whereas comparatively slender limbs, hke those of. hiG. 4.—CHURCH NEAR KOSTROMA, RUSSIA. See pages 25, 26, 32, 34. the Flying Mercury, Fig. 2, page 21, or small pillars likethose of the interior of the church near Kostroma, , page 25, suggest, in the same way, a lack of weight andtherefore such conceptions as lightness, zveakness, mova- 26 PAINTING, SULPTUKE, AND AKCHITECTbRE. bility, or loisubstantiality. No one would expect theHercules to be able to fly, but he might expect this of theMercury. The columns of Melrose Abbey would seemout of place unless the roof were very heavy ; and thoseof the church at Kostroma would be equally out ofplace unless the roof were very light. We cannotimagine any attempt to remove intact the former buildingfrom the place in which we find it ; but it is not impossi-ble to conceive of putting rollers under the latter andtransporting it across the country. Just here it may be well to point out the confirmationafforded by these facts of the view advanced in Art inTheory, that beauty involves effects
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