. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. throwing his now useless crutches on the ground, givinghim the uncertain and swaggering attitude of a man ac-. 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
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. throwing his now useless crutches on the ground, givinghim the uncertain and swaggering attitude of a man ac-. 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 Greece.
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Keywords: ., bookcentury1900, bookdecade1900, bookpublishernewyorkgpputnamsso
