  Although Schiller’s illustration of both grace and dignity refer to our perceptions of actual human beings rather than to artistic representations of them, that is not an objection to reading his account as a critique of Kant’s conception of the ideal of beauty. In the “Analytic of the Beautiful” Kant himself is talking primarily about the beauty of nature rather than art, and in the section on the ideal of beauty he is clearly talking about a special feature of human beauty itself rather than of the artistic representation of human beauty. Any implications of either Kant’s account or of Schiller’s critique of it for the case of artistic representation would have to be inferred. But of course many of the features in which Schiller locates both grace and dignity could be represented in artistic depictions of human beings, and that is why it is not implausible to suggest that his account may be directed against Lessing as well as Kant. Schiller’s contrast between swelling veins, cramped muscles, and outhrust chest on the one hand and serenity of eye and brow on the other could be taken as a plausible description of the famous statue of Laocoön, and thus Schiller could be read as suggesting, in the spirit of Winckelmann, that the statue should be understood as an expression of dignity in the face of suffering rather than as a symbol for the differences between pictorial and verbal depiction.  On Schiller’s account, however, the dignity of the unnamed Laocoön would be explained by the moral character of the individual, not by the circumstances of a whole people.