. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. MOVEMENT. Seepages62, 130, 137, 145,148,167,172,175. not uncommon See 148, 158, 167. the note on page 17 of Poetry as a Representative Art. REPKESENTATION THROUGH POSTURES. I 33 Much of what is to follow, including the explanation ofthe principles underlying the gestures of the arms andhands on pages 149 to 164, upon which is based, too, thewhole system of facial expression in Chapter IX., wasprepared from original material for the Orators Manual years ago ; nor are any
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. MOVEMENT. Seepages62, 130, 137, 145,148,167,172,175. not uncommon See 148, 158, 167. the note on page 17 of Poetry as a Representative Art. REPKESENTATION THROUGH POSTURES. I 33 Much of what is to follow, including the explanation ofthe principles underlying the gestures of the arms andhands on pages 149 to 164, upon which is based, too, thewhole system of facial expression in Chapter IX., wasprepared from original material for the Orators Manual years ago ; nor are any explanations similar in kind trace-able to Delsarte, though, as they are now adopted almostuniversally by those who teach his system, they have cometo be incorrectly attributed to him. In accordance with the intention indicated on page 126,we have still to notice the conditions of thought repre-sented by the effects of the tendencies under considera-tion, as manifested in the forms of activity resulting fromthe combined influences of their sources and treat this part of our subject
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