. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. hension, or control. The position when very emphatic indicates dissenttogether with unwillingness to weigh evidence (Fig. 112, page 176) ; also, to one lookingbackward too, haughtiness, su-perciliousness, impudence (, page 177), and, in a hos-tile countenance, contemptuousrage (Fig. 122, page 181). Butif the brow be in advance, itindicates that, while the manstill conceives himself to bemaster of the subject, he is will-ing to expend his mental ener-gies upon it. Notice the sug-gestion o
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. hension, or control. The position when very emphatic indicates dissenttogether with unwillingness to weigh evidence (Fig. 112, page 176) ; also, to one lookingbackward too, haughtiness, su-perciliousness, impudence (, page 177), and, in a hos-tile countenance, contemptuousrage (Fig. 122, page 181). Butif the brow be in advance, itindicates that, while the manstill conceives himself to bemaster of the subject, he is will-ing to expend his mental ener-gies upon it. Notice the sug-gestion of moral superiority,though connected with an ap-peal to reason, in the man mak-ing the upward finger gesturein Fig. 39, page 79; also the suggestion of intellectualsuperiority in the man, who is nevertheless paying at-tention, at the right in Fig. 29, page 63 ; and, once more,the malicious confidence in the results of his own plotsmanifested in the hostile countenance in Fig. 50, page99. If, with the head held back and not inclining to eitherside, the eyes gaze tipzvard, the man conceives of the. FIG. 118.— pages 179, 187. TIOM THROUGH HEAD A/VD FACE. I 79 source of suboi-dination as something; abi)\-c his sight, com-prehension, or control. If then liis chin be in advance,the position indicates, according to the expression of theother features, that his own mental comprehension orcontrol is waived on account either of faith in a liigherpower (Fig. 118, page 178), or fear of it (Fig. 119, page179). If then the face also lean to one side, as it does toan extent in Fig. 118, with the eyes looking upward in thesame direction, this may indicate indifference to lower orworldly subjects or persons on account of enthusiastic
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