Another time, talking with Clito the sculptor, he said to him, "I wonder not that you make so great a difference between the statue of a man who is running a race and that of one who stands his ground to wait for his antagonist with whom he is to wrestle, or to box, or to play a prize at all sorts of defence; but what ravishes the beholders is, that your statues seem to be alive. I would fain know by what art you imprint upon them this wonderful vivacity?" Clito, surprised at this question, stood considering what to answer, when Socrates went on:--"Perhaps you take great care to make them resemble the living persons, and this is the reason that they seem to live likewise." "It is so," said Clito. "You must then," replied Socrates, "observe very exactly in the different postures of the body what are the natural dispositions of all the parts, for when some of them stoop down, the others raise themselves up; when some are contracted, the others stretch themselves out; when some are stiff with straining, others relax themselves; and when you imitate all this, you make your statues approach very near the life." "You say true," said Clito. "Is it not true likewise," replied Socrates, "that it is a great satisfaction to beholders to see all the passions of a man who is in action well expressed? Thus, in the statue of a gladiator who is fighting, you must imitate the sternness of look with which he threatens his enemy; on the contrary, you must give him, when victor, a look of gaiety and content." "There is no doubt of what you say." "We may then conclude," said Socrates, "that it is the part of an excellent statuary to express the various affections and passions of the soul, by representing such-and-such motions and postures of the body as are commonly exerted in real life whenever the mind is so-and-so affected."