This is what the sculptor must do. He must strive continually to think of, and use, form in its full spatial completeness. He gets the solid shape, as it were, inside his head--he thinks of it, whatever its size, as if he were holding it completely enclosed in the hollow of his hand. He mentally visualizes a complex form from all round itself; (1)_______________________; he identifies himself with its centre of gravity, its mass, its weight; he realizes its volume, as the space that the shape displaces in the air. And the sensitive observer of sculpture must also learn to feel shape simply as shape, not as description or reminiscence. (2)_______________________. And so with solids such as a shell, a nut, a plum, a pear, a tadpole, a mushroom, a mountain peak, a kidney, a carrot, a tree-trunk, a bird, a bud, a lark, a ladybird, a bulrush, a bone. From these he can go on to appreciate more complex forms of combinations of several forms.
