' This is leaving out of the question in both ages, all works
badly executed, and obviously incorrect, of which there are numerous
examples both ancient and modern.
The subjects we find in sculpture are, in "the round," mostly men or
women in thoughtful or impassioned action: sometimes they are indeed
acting physically; but then, as in the Jason adjusting his Sandal,
acting by mechanical impulse, and thinking or looking in another
direction. In relievo we have an historical combat, such as that
between the Centaurs and Lapithae; sometimes a group in conversation,
sometimes a recitation of verses to the Lyre; a dance, or religious
procession.
As to the first class in "the round," as they seem to appeal to the
intellectual, and often to the moral faculties, they are naturally,
and according to the broad definition, works of 'High Art.' Of the
relievo, the historical combat appeals to the passions; and, being
historical, probably to the intellect. The like may be said of the
conversational groups, and lyrical recitation which follow. The dance
appeals to the passions and the intellect; since the intellect
recognises therein an order and design, her own planning; while the
solemn, modest demeanour in the religious procession speaks to the
heart and the mind. The same remarks will apply to the few ancient
paintings we possess, always excluding such merely decorative works
as are not fine art at all.
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