. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. 21.—THE LAOCOON GROUP. See pages 49, 77, 174, 223, 281, 284, 285. forms in the Laocoon, Fig. 21, page 49, are not clothed;but notice the feehng of energy and strength conveyed bythe way in which the serpent and the human limbs are 50 PAINTING, SCULPTURE, AND ARCHITECTURE. projected from the deep shadows which the arrangementof them necessitates. The same is true of MichaelAngelos statue of Giuliano de Medici, with P^igures ofNight and Day (Fig. 170, page 301). Notice in this thatnot only t
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. 21.—THE LAOCOON GROUP. See pages 49, 77, 174, 223, 281, 284, 285. forms in the Laocoon, Fig. 21, page 49, are not clothed;but notice the feehng of energy and strength conveyed bythe way in which the serpent and the human limbs are 50 PAINTING, SCULPTURE, AND ARCHITECTURE. projected from the deep shadows which the arrangementof them necessitates. The same is true of MichaelAngelos statue of Giuliano de Medici, with P^igures ofNight and Day (Fig. 170, page 301). Notice in this thatnot only the arrangement of the limbs but of all the sur-faces is designed to bring out strongly contrasting effects. FIQ. 22.—GROUP FROM MAUSOLEUM OF MARIACHRISTINA. CANOVA AT pages 50, 73, 263, 286. of light and shade. So, too, compare the strong, energeticeffect of the high relief in Fig. 22, page 50, with thesomewhat less strong effect in the lower relief in Fig. 23,page 51, and the weak effect where there is no reliefat all, as in Fig. 5, page 27. As Barry, in the fifth ofthe I>ectures b}* the Royal Academicians, says, withreference to this art : In groups and figures in the round. BY MEANS OF SHAPE. 51 the masses of liLjht aiul shade, or, in other words, theai^reeable or majestic effect of the work in all its possibleviews, cannot be too much attended to. The taste ofhnes and harmonious flow of the parts or several mem-bers of the work, whether a i^roup or a single figure, theirvariety and their combined unity, are the efficient causesof that light and shade which give ease and satisfactionto the eye of the spectator, and engage him, as it were, to
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