(_ββ_) We have still to add some remarks with reference to that part of the countenance which is more nearly related to the practical or sensuous side of natural function, in other words the specific form of the nose, the mouth, and the chin. The distinction in the form of the nose gives to the face a variety of configuration and many various kinds of expression. A keenly cut nose with thin folds[163] at the apertures we are accustomed to associate with an acute understanding, whereas a broad and drooping one, or a snub nose that is somewhat brutish, suggests as a rule sensuality, folly, and bestiality. It is, however, the function of sculpture to hold itself aloof, not merely from such extremes, but also the intermediate stages of design and expression, and refuse consequently to accept, as we have already seen is the case with the Greek profile, not simply the separation from the forehead, but also the extreme curve, whether upwards or downwards, the acute point and the more extended rounding off, the elevation in the middle and the depression towards the forehead and the mouth, generally speaking the extreme acuteness and thickness of the nose, setting in the place of these varied modifications a comparatively indifferent type, if at the same time one which in a quiet way is throughout vitalized by individuality. Second only to the eye the _month_ belongs to the most beautiful portion of the face, provided that it is formed not so much in express relation to its natural function as an organ for eating and drinking as in accommodation to its spiritual significance. In this respect it only gives place to the eye in the variety and wealth of its means of expression, and this though it is enabled to express with vital force the finest nuances of scorn, disdain, envy, the entire gamut of sorrows and joy through the slightest of movements and the fullest play of such, and to a similar degree to express the charm of love, earnestness, sensuous feeling, obstinacy, attraction, and other such emotions by its state of repose. Sculpture, however, makes less use of it to express the nuances of particular expression, and, above all, is bound to keep what is entirely sensuous, and suggests natural wants away from the form and delineation of the lips. For the most part, therefore, it models the mouth neither over-full-shaped nor too spare, for extremely thin lips also suggest a parsimony of emotional life; makes the underlip more full than the upper, which was also the case with Schiller, upon the modelling of whose mouth was inscribed every kind of significance and fulness of temperament. This more ideal type of the lips in its contrast to the animal snout presents the appearance of a certain absence of desire, whereas in the case of the beast, if the upper portion projects, we are at once reminded of the headlong devouring of food and the grasp for it. Among human beings the mouth is, when we have regard for its spiritual relation, primarily