. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. 28.—THE APOLLO pages 62, 138, 147, 149, 151, 224, 2S1. GRADATION IN THE OUTLINES OF SHAPES. 63 how. as manifested not in the human form but in the inani-mate appearances of nature surrounding it, similar outHnesare fitted to represent, and so to awaken, correspondingconceptions in the mind of the spectator. The curve hasbeen ascribed to the instinctive, or, as we may term it,the physically normal action of the human form. Is thereany truth in the supposition that similar appe
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. 28.—THE APOLLO pages 62, 138, 147, 149, 151, 224, 2S1. GRADATION IN THE OUTLINES OF SHAPES. 63 how. as manifested not in the human form but in the inani-mate appearances of nature surrounding it, similar outHnesare fitted to represent, and so to awaken, correspondingconceptions in the mind of the spectator. The curve hasbeen ascribed to the instinctive, or, as we may term it,the physically normal action of the human form. Is thereany truth in the supposition that similar appearances ex-ternal to man may be ascribed to sources similar in charac-. FIQ. 29.—AUTHOR AND CRITICS. H. STACY MARKS, pages 62, 151, 152, 156, 172, 173, 177, 178, 270. ter ? Why should there not be ? The e}-e itself is circular,and the field of vision which it views, at any one moment,always appears to be the same. So does the horizon andthe zenith, and so, too, do most of the objects that theycontain—the heaving mountain, the rising smoke or vaporthe rolling wave, the gushing fountain, the rippling stream,even the bubbles of its water and the pebbles of its chan-
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