. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. 75.—DOWNWARDCLOSING GESTURE. FIQ. 76.—SIDEWARD FINGERGESTURE. See pages 134, 136, 156,158, 159- I REPKESENTATIOX THROUGH POSTURES. I 35 According to what has been said, we should expect themotive tendency to add an element of still greater activityto the mode of expression natural to either the vital orthe mental. This activity may express itself throughthat which pertains more particularly either to the bodyor to the mind, or to that combination of the two whichwas said, on page 12, to co
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. 75.—DOWNWARDCLOSING GESTURE. FIQ. 76.—SIDEWARD FINGERGESTURE. See pages 134, 136, 156,158, 159- I REPKESENTATIOX THROUGH POSTURES. I 35 According to what has been said, we should expect themotive tendency to add an element of still greater activityto the mode of expression natural to either the vital orthe mental. This activity may express itself throughthat which pertains more particularly either to the bodyor to the mind, or to that combination of the two whichwas said, on page 12, to correspond to what is under-stood by soul. Activity must manifest itself, evidently,in the degree in which a form of movement causes cer-tain parts of the body to appear to pass through, or tocover, a large part of hav^e found already thatlength is an indication of ac-tivity. Notice, now, that thisis true as applied not only toform, but to movement, infact that it is true of formbecause of its being true ofmovement. The long bodywith its long legs and arms,and, where the latter aresho
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