To add a few more examples of even more intimate detail, the eyes are not deeply set as in the Greek ideal, but are almost on a level with the forehead; they are flattened and extended obliquely. The eyebrows, eyelids, and rims of the lips are mainly suggested by the graver's lines, or the brows are indicated by a stroke in relief, which extends as far as the temples and is at that point cut off angular wise. What we above all find wanting here is the projection of the forehead, and along with this, together with uncommonly high placed ears and arched noses, as is the rule with vulgar natures, we have the retreating form of cheekbones, which in contrast to other parts are strongly indicated and emphasized, whereas the chin is always retiring and small; the rigidly closed mouth, too, draws its corners in an outward rather than an under-ward direction, and the lips appear to be separated from each other by a mere slit. Speaking generally, then, such figures are not only wanting in freedom and vitality, but more than anything else the head fails to show us the expression of spiritual significance; the animal aspect is the prevailing one, and Spirit is not as yet suffered to appear in its self-poise and independence. The execution of _animal_ figures is, on the contrary, according to the same authority, carried through with much knowledge and an exquisite variety of gently gradated outlines and of parts that flow one into the other without a break. And if in the human figures spiritual life is not as yet liberated from the animal type and the interfusion of the Ideal with what is sensuous and of Nature on a new and free model is absent, yet we find here that the specifically symbolical significance of the human no less than the animal figures is directly expressed by means of sculpture in these embodiments of forms, in which human and animal shapes pass into one mysterious union.