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.