. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. o N o r^ -> N o in V <i CO N III t-« T O 1-1 <u CO e9 ]2 PAINTING, SCUIPTURE, AND ARCHITECTURE. taneous, normal development of natural formation !Observe, also, the allied instinctive human expression ofthe same in the buoyancy, freedom, and joyousness ex-pressed by the curves in Fig. 26, page 60, also-in , page 71. Now recall the results of extraneous ab-. FIQ. 35.—ADORATION OF THE MAGI. P. 73, 174, 263, 276. normal influences, first, as exerted by natural forc
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. o N o r^ -> N o in V <i CO N III t-« T O 1-1 <u CO e9 ]2 PAINTING, SCUIPTURE, AND ARCHITECTURE. taneous, normal development of natural formation !Observe, also, the allied instinctive human expression ofthe same in the buoyancy, freedom, and joyousness ex-pressed by the curves in Fig. 26, page 60, also-in , page 71. Now recall the results of extraneous ab-. FIQ. 35.—ADORATION OF THE MAGI. P. 73, 174, 263, 276. normal influences, first, as exerted by natural forces, as inFig. 17, page 43, and at the left of Fig. 32, page dj \ and,second, as exerted by the allied reflective agency of in Fig. 30, page 64. Once more, look at the effectsof repose as suggested, first, by the horizontality of the GRADATION IN THE OUTLINES OF SHAPES. 73 arrangements of natural scenery in Fig. 18, page 45, and,second, with more reflective design, by the human figurein connection with scenery, as in Fig. 33, page 69. Con-trast with this the aspiration expressed by the verticahtyof the Hues in hig. 9, page X^i ; and, owing to the non-natural arrangement in a regular row, the more humanlythoughtful and reflective suggestion of the same in , page 85. Notice, too, the same impression as clearlyconveyed by the whole form in Fig. 2, page 21, and moresubtly conveyed by the extended limb of the angel inFig. 22, page 50. Finally, observe, i
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