. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. lU MEANS OF SHAPE. 49 \w Fig. 19, page 47, and the j-ickling and graceful, but com-parati\ely weak effect, so far as concerns character, i)ro-duced b) the smooth surfaces of Fig. 20, page 48. The .\. 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. project
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. lU MEANS OF SHAPE. 49 \w Fig. 19, page 47, and the j-ickling and graceful, but com-parati\ely weak effect, so far as concerns character, i)ro-duced b) the smooth surfaces of Fig. 20, page 48. The .\. 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
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