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The Artist's Repository, Or, Encyclopedia of the Fine Arts (Band 1): The Human Figure — London, 1808

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https://doi.org/10.11588/diglit.18825#0138
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til PROPORTIONS OP THE HEAD. [LECT. r.

OF THE HEAD LOOKING UPWARD.

In this aspect we observe those lines which origi-
nally were horizontal, and in the foregoing example
were the inferior part of a circle, are now become
the superior ; and the upper divisions of the head
recede, to their apparent diminution, in proportion
to what degree the head is elevated; the parts follow-
ing each other, thus : the upper, or fourth division
of the head, is considerably lessened ; the forehead
not quite so much ; the nose somewhat less; and the
chin scarce at all.

\\ e remark, that in the head looking downward,
the prominence of certain parts conceals somewhat
of the parts beneath them. Thus the eye-brows by
their projection hide the eye ; the nose hides the
mouth ; and even the upper lip hides part of the
under. Whereas, in the elevation of the head, the
projection of these parts appears distinctly, and we
see beneath them ; the eye-brows seem to rise, the
nostrils are entirely seen underneath the nose, and
part of the throat shews itself under the chin. This
effect: is proportionate to the degree of elevation in
which the head is placed. The ear, being nearest
the centre of motion, suffers the least alteration ; yet
even that is considerably moved.

These are the chief attitudes of the head whose
principles require illustration ; not only as these prin-
ciples apply to all others, but as all others are, more
or less, composed of one or other of the attitudes to
which we have been attending.

2 GENERAL
 
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