Because it preserves the full three-dimensional presence of the body, sculpture is, next to the drama, the most realistic of the arts. This realism is not, however, an unmixed advantage for general appreciation. For, finding the shape of the body, men sometimes demand its color and life, complaining that the statue is cold and dead;[Footnote: See Byron, _Don Juan_, Canto II, cxviii.] or else, giving life to the form, they react to it practically and socially, as they would toward the real body. Yet, for the one attitude, the art itself cannot be held responsible, but rather some want of genius in the artist or lack of imagination in the spectator; and as for the other, although only a bloodless dogma would demand the elimination of passion and interest from the appreciation of sculpture--for unless the marble arouse the natural feelings toward the body it is no successful expression--nevertheless, good taste does demand that, through attention to form and a sense of the unreality of the object, these feelings be subdued to contemplation. In order to keep the statue on the ideal plane, it should not be too realistically fashioned. If it looks too much like a man, we shall first treat it as a man, as we do one of Jarley's or Mme. Tissaud's waxworks, and then after we have been undeceived, we shall have toward it an uncanny feeling, totally unaesthetic, as towards a corpse. The statue, therefore, if life-sized, should not be given the colors or clothing of life. Tinting is not excluded, provided no attempt is made at exact imitation; and when the statue is of heroic, or less than the normal size, as in porcelain, both coloring and clothing may be more realistic. No hard and fast rules can be formulated; yet the principle is plain--there should be realism in one aspect, above all in shape, in order that there may be an aesthetic semblance of life, but not in all, in order that the statue may not be a mere substitute for life, awakening the reactions appropriate to life. Moreover, appreciating the beauty of his material, the sculptor may not wish to cover it up, as he would if he tinted it. As in painting, the attainment of beauty in the medium may interfere with full realism in execution. For the sake of beauty of color, the worker in bronze will be content to see the white man black, and for the sake of beauty of line he may even sacrifice something of exactness in the rendering of shape.