Hence if a particular sculptural composition needs some special movement to augment or contrast the rhythm of the ensemble, there is no reason why one should not make use of a small motor to secure the effect. 5. It is necessary to get rid of the idea, purely literary and traditional, that marble and bronze are the materials that must be used in great sculpture. The sculptor may use twenty materials in one work if required to express his idea. He may use glass, wood, cement, cardboard, leather, cloth, mirrors, electric lights, etc. 6. It is only by choosing subjects absolutely modern that one can discover new motives and ideas. 7. It is necessary to abandon the nude and the traditional conception of the statue and the monument. 8. What the Futurist sculpture creates is, in a way, the _ideal bridge_ that unites the infinite plastic _exterior_ with the infinite plastic _interior_. That is why the objects _never finish_, but they _intersect_ with endless combinations both sympathetic and averse. The feeling of the spectator is at the _center_ of the work, not aloof and outside, as with traditional sculpture. * * * * * All this sounds wildly extravagant, but not absolutely incoherent. * * * * * The obvious objection to the attempt of the Futurist sculptor to include in his _composition_ an object _and_ its environment [Illustration: HERBIN Still Life] is found in his own proposition--_which is philosophically valid_--that _the universe_ is the atmosphere, the environment of every object from a grain of sand to a planet. Hence the Futurist figure that shows a few houses, a bit of a railing, a glimpse of a distant square, is more comprehensive than the conventional bust to only an infinitesimal degree; only _almost infinitesimal fractions_ of the _enveloping_ universe are shown. The effect is fragmentary and confusing. Other sculptors, conspicuously Rodin in some of his work, get the effect of atmosphere and environment by detaching the figure or composition _only partially_ from the block of marble or mass of bronze, leaving to the _imagination of the observer_ the finishing of the work, the supplying of both environment and atmosphere. That would seem to be the finer, the purer, the more abstract way. * * * * * In fact, there is an obvious contradiction between the creed of the Futurist sculptor and the Futurist writer. The former feels impelled to show environment by encumbering his figure with an overwhelming mass of details, houses, railings, sidewalks, petty figures, etc., etc.--all the _qualifying_ objects that happen within his vision, leaving nothing to the imagination of his observer; while the Futurist writer would eliminate from literature all adjectival and adverbial words and phrases, leaving the nouns (the simple figures of sculpture) to stand alone. * * * * *