Chapter III
Francis Plumptre Beresford Osmaston translation
THE VARIOUS KINDS OF REPRESENTATION, MATERIAL, AND THE HISTORICAL STAGES OF THE EVOLUTION OF SCULPTURE
Introduction and division of subject 187
1. Modes of Representation 187
(a) The single statue 188
(b) The group. Tranquil juxtaposition. Conflicting actions. Niobe. Lacoon 190
(c) The relief 193
2. The material of sculpture 194
(a) Wood 195
(b) Ivory, gold, bronze, and marble 195
(c) Precious stones and glass 200
3. The historical evolution of sculpture 201
(a) Egyptian sculpture. Deficiency of ideal spontaneity. Position of hands and arms. Position of eyes 202
(b) Sculpture of the Greeks and Romans 205
(c) Christian sculpture 213
SUBSECTION III
THE ROMANTIC ARTS
INTRODUCTION
[The principle of subjectivity as such. How it is accepted as the essential principle by romantic art. The contrast presented by romantic and classical art in the changed point of view. The effect of such a change on both the subjective side of soul-life and the external aspect of objective presentment. The process of the gradual idealization of the external medium of art itself as illustrated by the particular romantic arts and the necessity thereof] 217