. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. 119.—APPREHENSIVC ASTONISHMENT. See pages 174, 179, 185, FIG. 120.— page 179. recognition uf lu;lp from a source higher than ordinarilycomes to men, giving an expression of religious rapture asin Fig. 110, page 175 ; or, aided by emphasis of chin andlower lip, of irreligious triumph, as in Fig. 120, page head held back, with the eyes upward and the browin advance, is an almost impossible position ; but there isa suggestion of it in Fig. 63, page 116, and Fig. 121, page18
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. 119.—APPREHENSIVC ASTONISHMENT. See pages 174, 179, 185, FIG. 120.— page 179. recognition uf lu;lp from a source higher than ordinarilycomes to men, giving an expression of religious rapture asin Fig. 110, page 175 ; or, aided by emphasis of chin andlower lip, of irreligious triumph, as in Fig. 120, page head held back, with the eyes upward and the browin advance, is an almost impossible position ; but there isa suggestion of it in Fig. 63, page 116, and Fig. 121, page181. In both cases it joins to the conception of highercontrol, the feciing that this is acting through the mansown mentality. Napoleon is the man of destiny ; andFig. 121 hints oi one conscious that he himself has been I So PAINTING, SCULPTURE, AND ARCHITECTURE. a co-worker with fate in producing tlie trouble which hasovertaken him. The head held in its noruial position, neither thrustforward nor drawn backward, representing, as it does, nobias in the direction either of vital energy or of me
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