. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. be opened at both thecentres and sides, as if physical will-power in the lips wereparalyzed, we have horror or the like (Figs. 133, page 188;119, page 179). Turning now to the parts of the face less closely con-nected with the material manifestations of thought inspeech, there can be nodoubt that bringing theeyebrows nearer togetheras in Figs. 123, page 182 ;124, page 183 ; 127, page185 ; and 131, page 187,indicates like the fingergesture a concentration ofthought upon some par-ticular subject
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. be opened at both thecentres and sides, as if physical will-power in the lips wereparalyzed, we have horror or the like (Figs. 133, page 188;119, page 179). Turning now to the parts of the face less closely con-nected with the material manifestations of thought inspeech, there can be nodoubt that bringing theeyebrows nearer togetheras in Figs. 123, page 182 ;124, page 183 ; 127, page185 ; and 131, page 187,indicates like the fingergesture a concentration ofthought upon some par-ticular subject or is equally clear that thelowering of the eyebrows,as in Fig. 123, page 182,and 112, page 176, indi-cates, like the closing ges-ture, a closing of the chan-nel of influence. The mandoes not intend to receive. Fia 127.—LAUGHTER AND Zygomatic pages 121, 1S3, 184, 185, 187, or accept what he hears without serious question ; and,possibly, he deliberately intends to reject and oppose it,as in Figs. 51, page 99, and 115, page 177. When thebrows are both knit together and lowered, they may, inconnection with swelling nostrils and compressed lips,produce, as has been said, the effect of the fist gesture,as in Fig. 51, page 99. The lifting of the eyebrows, 186 rAINTING, SCULPTURE, AND ARCFIITECTURE. which has the effect of opening the space about the eyes,always, hke the opening gesture, indicates acceptance orcommunication, sometimes wilHng, as in the expressionof surprise (Fig. 130, page 187); and sometimes unwill-ing, as in that of sorrowful solicitude (Fig. 131, page 187),where the knit brows accompanying the opening move-ment show that the matter demands serious concentrationof thought. When, in connection with this, the musclesand eyes assume a rigid, staring appea
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