. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. AND pages go, 97. REGULAKITY IN OUTLINES. 99. FIG. 50. MEPHISTOPHELES. See pages loo, iiS, 170, 176,178. larity, which, so far as concerns it alone, is an aid to theagrecablcncss and consequent beauty of the effect ; but,in the degree in which the middle ofthe nose is out of this vertical line, notonly irregularity but ugliness is sug-gested. Again, a similar tendency causes usto suppose other imaginary verticalstraight lines, drawn, as in the samefigure, at equal distances
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. AND pages go, 97. REGULAKITY IN OUTLINES. 99. FIG. 50. MEPHISTOPHELES. See pages loo, iiS, 170, 176,178. larity, which, so far as concerns it alone, is an aid to theagrecablcncss and consequent beauty of the effect ; but,in the degree in which the middle ofthe nose is out of this vertical line, notonly irregularity but ugliness is sug-gested. Again, a similar tendency causes usto suppose other imaginary verticalstraight lines, drawn, as in the samefigure, at equal distances to either sideof this central line, and from them wemay gain an impression of relative regu-larity by noticing to what extent theypass through corresponding sides of theface. Besides this, we are promptedto suppose horizontal lines drawn, as indicated in thesame figure, across the forehead, eyes, and mouth, andto form judgments from them too with reference to thedegrees of regularity. It is importantto notice, also, that we form these judg-ments in accordance with the principleof correspondence. When, as in thesecases, opposite features of the counte-nance app
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