A statue is not sufficiently unified by representing a single individual or several individuals united by some common interest or by participation in some common action; the unity in the object should be expressed through a unity in the material of representation. The finest taste requires that every statue should be made of only one kind of material. One part, say the body, should not be of marble, and another part, say the girdle, of gold or bronze. Such a combination of materials gives the impression of two things juxtaposed, not of a single whole. If in defense of this one were to say that through the difference of materials real differences in the object are portrayed, consistency would require that the principle be carried out, that the hair be of another material, and the eyes of still a third, with the result of making the statue a sheer agglomerate. And when more than one individual is represented, even a unity of material is not sufficient; it is necessary, in addition, that the several figures in the group be in contact with each Other. It is not enough that they stand on the same plate; for the real empty space that we see between them will keep them apart. The ideal space to which they belong, and the spiritual or dramatic oneness, should be mediated by a material touch of hands or other parts of the body. Compare, in this connection, Rodin's "Citizens of Calais" where this principle is violated, with the three figures from the summit of his "Hell Gate," where it is observed. In the former we simply know that the figures belong together, but we do not feel them as together.[Footnote: Compare Lipps, _Aesthetik_, Bd. 2, Fuenftes Kapitel.] In the normal type of sculpture only one figure is represented. For this, there is, perhaps, a chief point of regard, in front, the same as that which we ordinarily occupy with reference to our fellow men. Yet, since the body is beautiful from every point of view, the statue, unless designed to fit into a niche, should be so made that we shall want to move around it and survey it from every angle. Here is another difference between painting and sculpture. In the group, however, where several figures are represented united by some common interest or by participating in some common action, this difference is already beginning to disappear. For, in order to appreciate the dramatic significance of the group, the point of regard from in front is essential. The other aspects remain important for their corporeal beauty, but, since that is not ordinarily paired with an equal inner significance, they come to acquire a secondary place.