When the charm of the body is the prime object of expression, those actions and poses which exhibit grace and vigor are the ones naturally chosen. This beauty is best revealed in the single figure, because in the group there is usually some dramatic interest which diverts attention from it. The figure is preferably wholly or partially undraped, or when drapery is used, it should reveal the body underneath and possess beauty of line of its own. Elaboration of drapery for its own sake, or in order to display virtuosity in modeling, shows lack of true sculptural vision, which always has its eye on the naked form. Aside from lack of charm, the old and crippled are avoided because their inharmonious lines would appear again in a statue which reproduced them; it is not possible, as in painting, to make a harmony out of them through relation to other lines in the total work, for no other lines exist; nor can their natural ugliness be so easily made acceptable through beauty of color and light. Nevertheless, no one can dogmatically assert that the artist must confine himself in his choice of subjects. If by harmonizing the distorted lines of an ugly body with each other, and by enhancing the given purity and expressiveness of his material, the artist can create a beauty of form overlying the repellence of the subject, and if he can make us feel the tragedy or pathos of age and disease, no one can gainsay his work. In his "Aged Helmet-Maker's Wife," Rodin has perhaps accomplished this. [Footnote: See Rodin's own defense of this statue in his _L'Art_, chap. II.] In the classic sculpture the expression of the inner life is subordinate to the expression of corporeal beauty. Or, so far as mind is revealed, the revelation occurs through the body as a whole,--through attitude and pose and act. In this way complete unity between the inner and the outer beauty is preserved. For when through subtle modeling of the face the expression of the intense and individualized life of thought is attempted, the beauties of soul and body tend to fall apart and become rivals for attention. In classic sculpture, therefore, the face is rightly somewhat inexpressive, or better, is expressive of only the broad and typical human emotions. Fine or deep qualities may, however, be expressed; for dignity, poise, intelligence, sorrow, and active joy make themselves manifest in the total _habitus_ of the body no less than in the face. The work of Michelangelo is a further proof that sculpture can express the spiritual life, not only in the face, but in the body also. The expression there is no different in essential kind from that found in the heroic classic sculpture. It is universal, typical, not individual, personal; of the gods, not of men. Its quality alone differs; it is monstrous, pathological, grandiose, instead of serene and happily balanced.