But sculpture can also portray the individualized psychic life. [Footnote: Consult the discussion in Rodin's _L'Art_, chap. VII.] For this, the portrait bust is the most appropriate medium of expression. By separating the head, the natural seat of mind, from the rest of the body, the rivalry between the beauty of soul and form is obviated. How much sculpture can do in this way is shown by the work of the Greeks and Romans in ancient times, and by such men as Houdon and Rodin among the moderns. Think of the intense and concentrated expression of thought and emotion in the "Voltaire" of Houdon and the "Dalou" of Rodin! Success depends largely upon the modeling of the subtle lines of the face, where the more highly specialized workings of the mind leave their impress. Whatever of character the face may express can be expressed over again in its image. Of course the unique responses of mind to definite situations, such as, for example, the conversation of a man with his fellows, cannot be portrayed in sculpture, which isolates the individual. But the characteristic mood and attitude, the permanent residuum and condition of these responses, can be portrayed; and this constitutes personality or character. As Schopenhauer declared, the character of a man is better revealed in the face when he is in repose than when he is responding to other men, for there is always a certain amount of dissimulation or insincerity in social intercourse. The impossibility of rendering the color and animation of the eye constitutes a real deficiency, but, as has often been pointed out, this is partly minimized through the fact that the expression of the eye depends largely upon the brows; by itself, the eye is inexpressive. The portrait statue has much the same purpose as the bust, and hence should be draped. The heroic, equestrian statue, however, expresses rather the imposing, socially perceptible side of the man, than the inner life of thought and sentiment revealed in the bust.