. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. stract, the general (seeFig. 28, page 62; also Figs. 97, page 159, and98, page 160). As from this position theygradually approach the body, their signi-ficance changes by degrees until they aremade directly in front, as when one strikesup and down with his finger ; or claspsthe hands together or points to the they refer to what is conceived tobe relatively non-comprehensive, eitherbecause that to which they refer is initself of only narrow importance, as whenthe finger is used playf
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. stract, the general (seeFig. 28, page 62; also Figs. 97, page 159, and98, page 160). As from this position theygradually approach the body, their signi-ficance changes by degrees until they aremade directly in front, as when one strikesup and down with his finger ; or claspsthe hands together or points to the they refer to what is conceived tobe relatively non-comprehensive, eitherbecause that to which they refer is initself of only narrow importance, as whenthe finger is used playfully or in stigma-tizing (see Fig. 94, page 152) ; or, if it bemore important, is so only because ofsome concrete example or specific appli-cation (see Figs. 82, page 143, and 91, page 149); or hasbeen so thoroughly studied and analyzed that a manfeels that it has become exclusively his own (see theauthor in Fig. 29, page 63). If, in the gesture, the hands be carried so as to extendthe sphere of the man vertically, they increase, when heldforward, which is usually the case in connection with the. FIG. 93.—WALKINGUPRIGHT. See pages 149,169. 152 FAINTING, SCULPTURE, AND ARCIIITECTUKE. emphatic downward gesture, what by analogy we mayterm the effects of sharpness (notice again the authorin Fig. 29, page 63). If the hands be extended above thehead, as in the upward gesture, they increase the effectsof length (see Figs. 2, page 21, 71, page 132, 82, page
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