of all the surfaces, is designed to bring out strongly contrasting effects of light and shade. Considerably less forceful than these are the effects produced by mere reliefs such as we have in Fig. 9, page 97, and Fig. 10, page 98.

The same principles apply to architecture. Any one at all sensitive to æsthetic effects

will feel, almost at a first glance, the impression of strength conveyed by the pillars of the Greek temples, as in Fig. 28, page 219, or by the pilasters of the Renaissance buildings, as in Fig. 32, page 225; or by the buttresses of the Gothic cathedrals, as in Fig. 33, page 226; or by any arrangements, perpendicular or vertical, that add to the possibilities and presence

of shadows, as in Fig. 34, page 227. FIG. 32.-PAVILION OF RICHEHe will feel, too, the impression of a certain amount of structural weakness conveyed by plain walls, such as appear in Fig. 35, page 229. "As the great poem and the great picture," says Ruskin, in his "Seven Lamps of Architecture," "generally affect us most by the majesty of their masses of light and shade, I do not believe that ever any building was truly great unless it had mighty masses, vigorous and deep, of shadow mingled with its surfaces."

In the arts of sound, especially in poetry, the effects of force and pitch usually go together. If, in a poetic foot, we accent one syllable, we almost invariably give it a different pitch from that of the unaccented syllable following it. There is the same connection between the corresponding

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elements in the arts of sight. When we give more force to a colour in painting by increasing the effects of light and shade, we usually change the kind, or, what may be termed the pitch, of the colour; and though certain buildings and statues seem to be devoid of colour, we cannot, except by using many different kinds of it, make pictures which will re

Let us

ture and architecture often separate colours. consider what conceptions are represented by the different ways in which different masses of similar colour, or what is the same thing-different shapes are separated from one another. In other words, let us consider what is represented by the different general directions and characters of the outlines forming contours.

In accordance with what was said on page 190, the best way of determining this is to start by considering the principles of gesture. Gesture represents thought or emotion through using, mainly, the hands. But the hands are connected with the human body; and we cannot fully

study what is expressed by them, without going back, for a moment, to ask what is expressed by the whole body with which they are connected, and of which they form a part. The representative characteristics of the body have been unfolded, at length, in the author's "Painting, Sculp ture, and Architecture as Representative Arts." Here, after cautioning the reader to bear in mind that few individual forms manifest the features of any one type exclusively, it will suffice to say that, according to the principles of physiology and phrenology, roundness of form or feature, i. e., curvature, represents the degree of vital or physical power; that sharpness, i. e., angularity, represents the degree of mental or interpretive power; and that length represents the degree of motive or emotive power, i. e., the degree of that self-control or of lack of it which is sometimes termed moral power. For instance, men with exceptionally healthy lungs or stomachs usually have large cavities in which they are placed; artists have noses and fingers at their sides, or tips-that may be sharp and round, or sharp and long, but are always sharp; and extremely inflexible and scrupulous people are usually lank and long. If we separate the suggestions of different parts of the body, the torso seems best to represent the vital or physical; the extremities, especially the head and hands, to represent the mental or interpretive, as, for instance, in the hand-gesture; and the chest, shoulders, elbows, and knees, to represent the motive or emotive, as, for instance, when one is excited or embarrassed. Facial expression seems based upon the principle that the chin and lower lip best represent the vital or physical; the eyebrows and forehead best represent the mental or interpretive; and the nose and eyes best represent the motive or emotive. The movements of these features to repre

sent particular conceptions correspond, when the head is lifted or lowered or turned sideways, to the arms; and

when the countenance is contracted, expanded, or drawn down, to the hands.

From these brief suggestions with reference to the