Painting, Sculpture and Architecture as Representative Arts

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Excerpt from Painting, Sculpture and Architecture as Representative Arts: An Essay in Comparative Æsthetics This book contains an application to the arts of sight of the principles unfolded in the volume entitled "Art in Theory." For the benefit of readers not acquainted with that volume, its general conclusions have been briefly reviewed in the first two chapters of this, which chapters, without lessening the intelligibility of the rest of the discussion, may be omitted by those not interested in the philosophy of the subject. In connection with this review, and also, to an extent, in other parts of the volume, the various factors entering into visible representation have been correlated to those entering into audible representation as already unfolded in the volume entitled "Poetry as a Representative Art" and in the essay on "Music as a Representative Art, " published in the volume entitled "Rhythm and Harmony in Poetry and Music." As for visible representation considered by itself, the principles underlying this have, for the first time, been shown to be the same as applied not only in the higher arts of painting, sculpture, and architecture, but also in the art intimately connected with the first two, of pantomime or gesture, as well as in the methods of reading character, hardly less intimately connected with them, which are employed with various degrees of success in physiology, physiognomy, phrenology, and palmistry. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully, any imperfections that remain are intentionally left to preserve the state of such historical works.