. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. for the time being, unaggressivevitality (Fig. 89, page 148). If the face be held so that,on the whole, neither chin nor forehead, but rather thenose, is in advance, thisindicates if not aggressiveemotive or moral force,such as we see in the ordi-nary expression of eager-ness (Fig. 91, page 149), atleast unaggressive vitalityor mentality (Fig. 93, page151). Corresponding con-ditions in connection witha general backward andtherefore unaggressivemovement indicate corre-sponding tendencies, end-in
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. for the time being, unaggressivevitality (Fig. 89, page 148). If the face be held so that,on the whole, neither chin nor forehead, but rather thenose, is in advance, thisindicates if not aggressiveemotive or moral force,such as we see in the ordi-nary expression of eager-ness (Fig. 91, page 149), atleast unaggressive vitalityor mentality (Fig. 93, page151). Corresponding con-ditions in connection witha general backward andtherefore unaggressivemovement indicate corre-sponding tendencies, end-ing in mental slight projection of thechin in Fig. loi, page 169,indicates such reflection with reference to something depending upon the exerciseof vital force or will-power. A stronger indication of thesame may be seen in the position of the man in Fig. 27,page 61, and of the Judas in Fig. 92, page 150. The slightprojection of the forehead of the Napoleon in Fig. 6^^,page 116, indicates reflection with reference to somethingdepending on the exercise of thought, as does, still more. FIQ. 101.—UNYIELDING CONTEMPLATION. See pages 167, 169, 175. I70 PAINTING, SCULPTURE, AND ARCHITECTURE. decidedly, that of the Mcphistophclcs in Fig. 50, page positions of the heads of the man and the woman tothe left of Ananias in Fig. 39, page 79, indicate, as shouldbe the case in a representation of primitive Christians,that even balance of vital and mental tendencies whichcharacterizes the sway of higher emotive or moral con-siderations. It will be recognized at once that expression by meansof the positions and movements of the head is compli-cated. But this will become still more evident when wetake into consideration the fact that the suggestions con-veyed by the movements of the head before assuming itsposition, and also by the directions of the glances of theeyes, and by the adjustments of the muscles of the coun-tenance, are often such as to give a radically different
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