Had the sculptor been
representing a goddess he would have concealed this flatness in some way
or other, or selected a position which did not cause it, for the
conventional art--beauty must be equally rounded everywhere. Had he been
poorer in conception he would have slurred it over, or not even observed
it. The presence of this flatness or slightly hollow surface demonstrates
how true the work is to reality. The statue is a personality, a living
thing. As the line of the horizon recedes at sea, and that which now
appears the edge or boundary is presently sailed over, so the edge or
outline of the body recedes as you move around it. Another step, and the
right thigh and the right breast are in sight, with the ends of the
grooves. Lines that look almost straight are changed, as you approach,
into curves. The action of the limbs is most apparent when viewed from
the right side of the statue; but its most beautiful aspect is exactly in
front. In moving round, it is very striking to observe how the least
change of position--if you do but move an inch--alters the outline and
curve of the work; the breast, not visible before, is now apparent as the
bust rises; another inch and it becomes a demi-lune, till it swells to
its full undulation. At every step the figure alters, but no matter at
how many angles it is looked at, it always has beautiful curves. They
adapt themselves, these curves, to the position of the eye, and wherever
the eye is placed they satisfy its demands for beauty.
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