. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. 81.—DISCOMFORTIN THE ABDOMEN. See pages 142, FIG. 82.—THE RESURRECTION. T. N. pages 140, 142, 147, 151, 152, 160, 161, 162, 167, 174, 286 144 PAINTING, SCULPTURE, AND ARCHITECTURE. To refer in this place to any large number of the manypossible movements of the body illustrating these state-ments would unwarrant-ably extend this part ofour subject. Suffice it tosay that there is hardlya conceivable pose whichthe principles involved inthem, in connection withwhat has been s
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. 81.—DISCOMFORTIN THE ABDOMEN. See pages 142, FIG. 82.—THE RESURRECTION. T. N. pages 140, 142, 147, 151, 152, 160, 161, 162, 167, 174, 286 144 PAINTING, SCULPTURE, AND ARCHITECTURE. To refer in this place to any large number of the manypossible movements of the body illustrating these state-ments would unwarrant-ably extend this part ofour subject. Suffice it tosay that there is hardlya conceivable pose whichthe principles involved inthem, in connection withwhat has been said hither-to, cannot explain, if onlyone be willing to expenda little thought in tryingto interpret it. Recalling what has beensaid of the instinctivenature of movements out-ward and upward, thereflective nature of thecontrary movements, andthe emotive nature of sideor oblique movements ineither direction, we siiallrecognize that if the torso,the seat of vitality, leanslightly forward or to oneside, with the aid of hips,knees, and ankles, all thesein an instinctive way con-tribute merely to thegracefulness and genialitywhich we associate withhealt
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