Chapter II

THE IDEAL OF SCULPTURE

Introduction and division of subject 135

1. The general character of the ideal form of sculpture 137

(a) The free product of the genius of the artist. General content borrowed from mythology, etc. 139

(b) The animation which results from the plastic perfection of the integrated coalescence of the whole throughout its definition and relief 140

(c) No mere imitation of Nature. The external shape must be suffused with ideal content] 141

2. The particular aspects of the ideal form of sculpture as such 142

(a) The Greek profile. Contrast of the human mouth with that of animals. The projection of the forehead. Position of nose. Consideration of the human eye and ear. Beauty of the human mouth. Treatment of the chin in sculpture, also the hair 143

(b) Position of other parts of the human body and the motion thereof 147

[(α) The nature of the relation under which the limbs are associated in their contribution to spiritual ideality. The upright position 156

(β) The motion and repose of the same in their freedom and beauty 159

(γ) The type of position and motion adapted to a situation (habitus) or bodily habit under which the Ideal is expressed] 160

(c) Drapery 160

[(α) Ethical origin and artistic justification of, in sculpture 161

(β) Treatment of it by Greek sculpture 162

(γ) Artistic principle as determining the right emphasis on ideal significance. Contrast between antique and modern sculpture in the use of it] 165

3. The individuality of the ideal figures of Sculpture 171

(a) Incidental attributes and style of drapery, armour, etc., treated by sculpture. Distinguishing symbolic accessories of Greek gods 173

(b) Distinctions of age and sex in gods, heroes, human figures, and animals 177

(c) Representation of particular gods 183