The Philosophy of Fine Art, Volume 3

Introduction and division of subject

1. The general character of the ideal form of sculpture

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

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

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

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

(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

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

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

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

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

(c) Drapery

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

(β) Treatment of it by Greek sculpture

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

3. The individuality of the ideal figures of Sculpture

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

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

(c) Representation of particular gods

CHAPTER III

THE VARIOUS KINDS OF REPRESENTATION, MATERIAL, AND THE HISTORICAL STAGES OF THE EVOLUTION OF SCULPTURE

Introduction and division of subject

1. Modes of Representation

(a) The single statue

(b) The group. Tranquil juxtaposition. Conflicting actions. Niobe. Lacoon

(c) The relief

2. The material of sculpture

(a) Wood

(b) Ivory, gold, bronze, and marble

(c) Precious stones and glass

3. The historical evolution of sculpture

(a) Egyptian sculpture. Deficiency of ideal spontaneity. Position of hands and arms. Position of eyes

(b) Sculpture of the Greeks and Romans

(c) Christian sculpture

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]

CHAPTER I