. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. 27^ FIQ. 153.—THE DESCENT FROM THE CROSS. RUBENS, See pages 202, 276, 2S7. 27H PAINTING, SCULPTURE, AND ARCHITECTURE. customed to support, aiul still in some degree doubtfulof his newly acquired power, and by the uncommoneagerness with which he makes his address to his bene-factors, points out both his gratitude and the occasion ofit; and, still further, to do away with any remnant of am-biguity, he introduces a man of respectable appearance,who, lifting up a corner of the patients drapery, sur
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. 27^ FIQ. 153.—THE DESCENT FROM THE CROSS. RUBENS, See pages 202, 276, 2S7. 27H PAINTING, SCULPTURE, AND ARCHITECTURE. customed to support, aiul still in some degree doubtfulof his newly acquired power, and by the uncommoneagerness with which he makes his address to his bene-factors, points out both his gratitude and the occasion ofit; and, still further, to do away with any remnant of am-biguity, he introduces a man of respectable appearance,who, lifting up a corner of the patients drapery, surveyswith unfeigned astonishment the newly and perfectlyformed limb, in which he is also joined by others of thebystanders. Such a chain of circumstances, as Webb justlyobserves, equal to a narration in clearness, and infinitelysuperior in force, would have done honor to the inventorin the happiest era of painting in a: r^ I- 03 CO ci b cV o ;;/ 13 •fi ir ii> <) biJ I C/3 CHAPTER XV. FORMS OF SCULP TURK INTERPRETIVE OF THETR OWNSIGNIFICANCE: THE FUNCTION OF EXPI,ANATIONS. Differences between the Subjects of Painting and Sculpture—Portraiture inSculpture—Poetic Description of the Dying Gladiator—The Laocoon—Symbolic, Allegoric, Religious, Mythologic, and Historic Sculpture—Verbal Explanations as an Aid to Artistic Effect—Have the Same Re-lation to Painting and Sculpture as to Music—The Interest and Attrac-tiveness of Things Seen is Increased by our Knowledge with Referenceto them—The Same Principle Applies to Things Depicted in Art. A LMOST everything said in the preceding chapter with reference to painting applies also to sculpture. But there are certain differences between the two arts,which make necessary a few words with reference to therepresentation of thought and feeling in the seldom attains high rank except when it repro-duce
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