For there is a beauty in the media of sculpture, apart from what they may represent, quite as real, if not as obvious, as in the other arts. And without this beauty, there is no artistic sculpture. Its subtlety does not diminish its importance or its effect upon our feeling, for it makes all the difference between a mere imitation of nature and a work of art charming and compelling. We do not need to recognize its existence explicitly in order to appreciate it; yet, as soon as our attention is called to it, we admit it and accord to it that rare influence which before was felt but nameless. In the first place, the color of the material is expressive. The black and gold of bronze have a depth and intensity, the whiteness of marble a coldness, clarity, and, serenity, inescapable. The weight and hardness, or lightness and softness, of the material, also count. If people do not feel the expressiveness of these qualities directly, they nevertheless do feel it indirectly, whenever they appreciate the superior fitness of marble and bronze for the embodiment of the heroic and supernatural, and of the light and fragile porcelain for the more fleeting and trivial phases of life. Size, too, is expressive. There is a daintiness and tenderness about a little statue, contrasting strongly with the grandeur and majesty of one of heroic size. The usual small size of the terra cotta figurines among the Greeks was appropriate for the genre subjects which they so frequently represented, and an Aphrodite in this material is rather the Earthly than the Heavenly Love. There is also an evident beauty of line in sculpture, similar to the beauty of line in painting. The curved line is expressive of movement and grace; the horizontal, of repose; the crooked line, of energy and conflict. Compare, from this point of view, Rodin's "The Aged Helmet- Maker's Wife" with his "Danaid,"--how expressive of struggle and suffering are the uneven lines of the former, how voluptuous the curves of the latter! Michelangelo is the great example of the use of tortuous lines for the expression of conflict. Undulating vertical lines are largely responsible for the "grace and dignity" of the classic sculpture.