The phrase "as armless" is not correct and does not convey a clear meaning in written English.
It may be intended to describe someone or something lacking arms, but without context, it is ambiguous and not commonly used.
Example: "He felt as armless in the debate as he did in the physical competition."
Alternatives: "as defenseless" or "as powerless".
The Unknown (1927), another circus tale, starred Chaney as an "armless" knife thrower who plots grisly revenge against a romantic rival.
Frieda Pushnik, who used being born without limbs to achieve a remunerative career, not to mention a quirky celebrity, by appearing in Ripley's and Barnum's sideshows as the "Armless and Legless Wonder," died of bladder cancer on Dec. 24 at her home in Costa Mesa, Calif.
Furnishings include Saarinen's classic midcentury modern furniture by Knoll, such as an armless Saarinen Executive Chair in tan leather, a Saarinen Womb Chair in red Knoll fabric and a 16-inch round white Saarinen Pedestal tulip side table.
And the appearance of the caped figure towing two armless walkers, no less was as dramatic as could be".
The bronzes -- 95 headless and armless figures of walking people, as well as three massive prehistoric-looking "Skulls" and four towering "Hand-like Trees" -- have textured surfaces resembling wrinkled skin, a signature of her work since the 1960's.
But that's not mandatory, as long as the chairs are armless so they don't consume a lot of space.
Verlaine explained his reference to the armless statue as "a term for a state of feeling.
"The Unknown," directed by the brooding Tod Browning, starred Lon Chaney as a circus performer who pretends to be armless and Joan Crawford as the ingenue who likes him that way.
Cambodian and Thai soldiers, acting for well-organised rings, have hacked at much of it leaving pedestals empty, walls with holes and, in some cases, headless and armless torsos.Unfortunately, as a star statue in Berlin shows, possessions of the National Museum in Phnom Penh were not always safe, either.
With poetic use of color, she evokes rather than defines imagery using simple bands and bars of paint, sometimes stacking them horizontally, as in the witty "434 (armless man in green sweater)," in which she creates such a personage by clever placement of stacked brush strokes.
