Within its contours the statue stands alone. This is the essential difference between painting and sculpture; the painted thing is always a part of a larger spatial whole within which it exists in relation to other things, while the sculptured thing exists by itself; the space of the statue is the space which it fills; there is no further space to which it belongs, no background in which it lies. The space of sculpture, like the space of painting, is of course a represented or imaginary space, to be carefully distinguished from the real space of the room in which it is placed and the floor upon which it stands. The pedestal serves the same purpose in sculpture as the frame in the sister art; it cuts off the ideal space which the statue fills from the real space where it is housed, raising it above the common ground of real life, with its practical and social attitudes, into the realm of contemplation. The pedestal should be of a different material from the statue, else it belongs with the latter, and fails to perform its separating junction. The plate, on the other hand, should be of the same material, otherwise the statue would be made to stand on our earth, and in the same space with us.
However, just as in painting every object should be represented as belonging to a wider whole of space, so in sculpture, every part of the body should be represented as belonging to the whole body. If, therefore, only a part of the body is sculptured, it should be evident that it is a part and not the whole. In the portrait statue, for example, if the head alone is represented, there should appear, along with the head, as much of the bust as will suggest attachment to the body, in order that it may not seem decapitated! It is because the torso is so obviously a fragment of an ideal whole that we do not feel it to be an uncanny mutilation of a man or woman. In its present condition, the "Venus de Milo" is not the statue of an armless woman, but a statue of part of a whole woman.
A statue is not sufficiently unified by representing a single individual or several individuals united by some common interest or by participation in some common action; the unity in the object should be expressed through a unity in the material of representation. The finest taste requires that every statue should be made of only one kind of material. One part, say the body, should not be of marble, and another part, say the girdle, of gold or bronze. Such a combination of materials gives the impression of two things juxtaposed, not of a single whole. If in defense of this one were to say that through the difference of materials real differences in the object are portrayed, consistency would require that the principle be carried out, that the hair be of another material, and the eyes of still a third, with the result of making the statue a sheer agglomerate. And when more than one individual is represented, even a unity of material is not sufficient; it is necessary, in addition, that the several figures in the group be in contact with each Other. It is not enough that they stand on the same plate; for the real empty space that we see between them will keep them apart. The ideal space to which they belong, and the spiritual or dramatic oneness, should be mediated by a material touch of hands or other parts of the body. Compare, in this connection, Rodin's "Citizens of Calais" where this principle is violated, with the three figures from the summit of his "Hell Gate," where it is observed. In the former we simply know that the figures belong together, but we do not feel them as together.[Footnote: Compare Lipps, Aesthetik, Bd. 2, Fuenftes Kapitel.]
In the normal type of sculpture only one figure is represented. For this, there is, perhaps, a chief point of regard, in front, the same as that which we ordinarily occupy with reference to our fellow men. Yet, since the body is beautiful from every point of view, the statue, unless designed to fit into a niche, should be so made that we shall want to move around it and survey it from every angle. Here is another difference between painting and sculpture. In the group, however, where several figures are represented united by some common interest or by participating in some common action, this difference is already beginning to disappear. For, in order to appreciate the dramatic significance of the group, the point of regard from in front is essential. The other aspects remain important for their corporeal beauty, but, since that is not ordinarily paired with an equal inner significance, they come to acquire a secondary place.
Impressionistic sculpture represents a further departure from the normal and in the direction of the pictorial. Here part of the block from which the statue has been hewn is left an integral member of the piece; and out of it the figure seems to grow, as it were. It performs in the whole a function corresponding to the background of a portrait—the representation of the environment. Thus, in Meunier's "The Miner," the block represents the mine; in Rodin's "Orpheus and Eurydice," it represents the mouth of Hades; in his "Mystery of the Spring," a basin. Through the possibility of thus representing the relation of man to his environment a notable extension in the scope of sculpture is obtained.
When a background is introduced, the figure or figures, being members of a larger whole, require less detailed treatment, less clearness of outline. Their parts may even be left in large measure unfinished, the contours melting together with the block. A special point of regard, from which alone the figures are modeled, is obviously essential. Striking is the contrast of this type with the classic, where the utmost precision in modeling is necessary. Along with the diminished emphasis on clearness of form goes an increased effort at the portrayal of the inner, more spiritual life; sentiment and mystery find an unwonted place in the art. Rodin's "Psyche" is a good illustration. Yet, despite these differences, the classic demand for living surfaces, for rhythmical lines, for perspicuity and totality of silhouette, for singleness and unity of material, abides.
However, when the block attains prominence, the unification of the different figures through contact is no longer of equal necessity. The background serves the purpose of bringing the figures together, of providing a material bond between them. This is especially true in the various kinds of relief, between which and sculpture in the round, impressionistic sculpture is a sort of compromise. In relief there may even be a representation of perspective, the figures seeming to lie behind each other, flatter and smaller to indicate distance. But we shall not enter into the technique of this, which obviously approaches that of painting.
When the charm of the body is the prime object of expression, those actions and poses which exhibit grace and vigor are the ones naturally chosen. This beauty is best revealed in the single figure, because in the group there is usually some dramatic interest which diverts attention from it. The figure is preferably wholly or partially undraped, or when drapery is used, it should reveal the body underneath and possess beauty of line of its own. Elaboration of drapery for its own sake, or in order to display virtuosity in modeling, shows lack of true sculptural vision, which always has its eye on the naked form. Aside from lack of charm, the old and crippled are avoided because their inharmonious lines would appear again in a statue which reproduced them; it is not possible, as in painting, to make a harmony out of them through relation to other lines in the total work, for no other lines exist; nor can their natural ugliness be so easily made acceptable through beauty of color and light. Nevertheless, no one can dogmatically assert that the artist must confine himself in his choice of subjects. If by harmonizing the distorted lines of an ugly body with each other, and by enhancing the given purity and expressiveness of his material, the artist can create a beauty of form overlying the repellence of the subject, and if he can make us feel the tragedy or pathos of age and disease, no one can gainsay his work. In his "Aged Helmet-Maker's Wife," Rodin has perhaps accomplished this. [Footnote: See Rodin's own defense of this statue in his L'Art, chap. II.]
In the classic sculpture the expression of the inner life is subordinate to the expression of corporeal beauty. Or, so far as mind is revealed, the revelation occurs through the body as a whole,—through attitude and pose and act. In this way complete unity between the inner and the outer beauty is preserved. For when through subtle modeling of the face the expression of the intense and individualized life of thought is attempted, the beauties of soul and body tend to fall apart and become rivals for attention. In classic sculpture, therefore, the face is rightly somewhat inexpressive, or better, is expressive of only the broad and typical human emotions. Fine or deep qualities may, however, be expressed; for dignity, poise, intelligence, sorrow, and active joy make themselves manifest in the total habitus of the body no less than in the face.
The work of Michelangelo is a further proof that sculpture can express the spiritual life, not only in the face, but in the body also. The expression there is no different in essential kind from that found in the heroic classic sculpture. It is universal, typical, not individual, personal; of the gods, not of men. Its quality alone differs; it is monstrous, pathological, grandiose, instead of serene and happily balanced.