Cited by Walter Pater, Studies in the History of the Rennaissance. 1873.
Description:

'The Laocoon, with all that patient science through which it has triumphed over an almost unmanageable subject, marks a period in which sculpture has begun to aim at effects legitimate only in painting. The hair, so rich a source of expression in painting, and, as we have lately seen, in poetry, because relatively to the eye or to the lip it is mere drapery, is withdrawn from attention; its texture, as well as the colour, is lost, its arrangement faintly and severely indicated, with no enmeshed or broken light. The eyes are wide and directionless, not fixing anything with their gaze, or riveting the brain to any special external object; the brows without hair. It deals almost exclusively with youth, where the moulding of the bodily organs is still as if suspended between growth and completion, indicated but not emphasised; where the transition from curve to curve is so delicate and elusive, that Winckelmann compares it to a quiet sea, which, although we understand it to be in motion, we nevertheless regard as an image of repose; where, therefore, the exact degree of development is so hard to apprehend.' (109)