None the less a place remains for sculpture whose primary interpretation is in visual terms. Looking at any of the more recent work of Epstein, for example, a feeling of quick and active intelligence on the part of the contemplator arises, and this sense of his own activity is the source of much that follows in his response. By contrast a work of Rodin seems to be not so much exciting activity in him as active itself. The correlation of visual aspects, in other words, is a conscious process compared with the automatic correlation of muscular image responses. The first we seem to be doing ourselves, the second seems to be something which belongs to the statue. This difference as we have described it is of course a technical difference and by itself involves nothing as to the value of the different works concerned. A similar difference may be found in the apprehension of form in painting. These two modes are not as separate as our account would suggest; neither occurs in purity. Their interaction is further complicated through the highly representational character of most sculpture, and through the interlinking of different interpretations due to the congruences and incompatibilities of the emotional responses to which they give rise. With sculpture perhaps more than with any other of the plastic arts we are in danger of overlooking the work of the contemplator’s imagination in filling out and interpreting the sign. What we transport from Egypt to London is merely a set of signs, from which a suitable interpreter setting about it rightly can produce a certain state of mind. It is this state of mind which matters and which gives its value to the statue. But so obscure to ordinary introspection are the processes of the interpretation that we tend to think that none occur. That we interpret a picture or a poem is obvious upon very little reflection. That we interpret a mass of marble is less obvious. The historical accident that speculation upon Beauty largely developed in connection with sculpture is responsible in great degree for the fixity of the opinion that Beauty is something inherent in physical objects, not a character of some of our responses to objects.