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. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. 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. FIQ. 94.—ADDING INSULT TO INJURY. QAETANO pages 151, 156,263. 143, and 84, page 145). These facts suggest a correspond-ence s
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. 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. FIQ. 94.—ADDING INSULT TO INJURY. QAETANO pages 151, 156,263. 143, and 84, page 145). These facts suggest a correspond-ence sufificient for our general purpose between the down-ward gesture and the expression of the mental nature andthe upward and the expression of the moral or higheremotive nature. REPRESEXTATIOA THROUGH GESTUKES. I 53 Combining now, as is always done in practice, theeffects of the horizontal and the vertical directions, butwith main reference still to the latter, we may say thatthere are three planes in which the stroke of a gesturemay be made. One is on a level with the breast, which isthe seat of the motive or emotive nature, or, as we may say(see page 12), of the soul. One is below it, and one isabove it. The principle underlying the phase of thoughtrepresented by the hand, when carried to either of thethree planes, is as follows: Every soul inside of a bodyconceives of itself as at the centre of the universe, whichthe horizon rims, the earth groun
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