. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. 110.—RELIGIOUS RAPTURE, Seepages 174, 175, 179. IyG PAINTING, .SCULPTVKE, AND ARCHITECTURE. considered. When the chin points in the same directionas the eye, or what is the same thing, when the foreheadleans away from the person toward whom one is looking,this indicates that thought is with-held from accord with that of thisperson on account, perhaps, of pride,as in Fig. 114, page 177, or of shghtsuspicion. Fig. iii, page 176, or ofstubbornness, as in Fig. 112, page176, or of more malevole
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. 110.—RELIGIOUS RAPTURE, Seepages 174, 175, 179. IyG PAINTING, .SCULPTVKE, AND ARCHITECTURE. considered. When the chin points in the same directionas the eye, or what is the same thing, when the foreheadleans away from the person toward whom one is looking,this indicates that thought is with-held from accord with that of thisperson on account, perhaps, of pride,as in Fig. 114, page 177, or of shghtsuspicion. Fig. iii, page 176, or ofstubbornness, as in Fig. 112, page176, or of more malevolent feelings,as in Figs. 50, page 99, and 122,page 181. If with the head held backand the eyes gazing forward, thebrow be in advance, there is moreemphatic evidence of the influence ofthought. Nor does the man conceive either of himselfor of the opinion which he happens at the time to hold,as subordinate to any other, although, in the degree in. FIQ. 111-—UNCONFIDINQATTENTION. See pai^es 175, 176
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