  But the adjectival form of many—not all—critical predicates quickly reinforces the “property-with-name” model, and against this Wittgenstein places examples from musical and poetical criticism, where we simply call attention to the rightness of a transition or to the precision or aptness of an image. And it is here that Wittgenstein reminds us that descriptions such as “stately”, “pompous”, or “melancholy” (where the latter is said of a Schubert piece) are like giving the work a face (Shiner 1978), or we could instead (or in further specification of such descriptions) use  gestures.[2]  In cases of re-construing a work (e.g. the meter of a poem) so that we understand its rhythm and structure anew, we make gestures, facial expressions, and non-descriptive-predicate based remarks, where aesthetic adjectives play a diminished role or no role at all. And we show our approval of a tailor's work not by describing the suit, but by wearing it. Occasions and activities are fundamental, descriptive language secondary.