ust be perfected in result. The
perfection of this element of sentiment is shown in the work by the
impression of grandeur or elegance, of grace, severity or delicacy. The
triple necessity thus filled, the result is truly a work of art.

_Application of the Law to Sculpture._

The relation of Delsarte's system to sculpture has already been alluded
to. Its application here lies principally in the realm of form. The
sculptor aims to reproduce finest proportions of face and figure. He
delights in a beautiful contour and, as Mengs has said, "in lines
undulating and serpentine," while he studiously avoids all simple
straight lines.

The more limited range of outlook demands more studied beauties and more
significant expressions. The statue--unlike the monument, which at once
arouses spontaneous emotions in the spectator--should express the human
being, his sensations, his affections, his passions and struggles, and
should arouse an enthusiasm of admiration while it awakens sympathetic
echoes in the heart of the observer. Here more strikingly than ever must
we recognize "Man the object of art." In the light of this truth we
should demand of sculpture the manifestation of the human life with its
constituent faculties, not in a perfectly equal accord which is never
met in nature, but with such predominance as the subject presents.

In Greek art the predominance is of the physical aspect. They had before
them exquisite models of plastic beauty; not the sensual beauty which is
fleshly, but a plastic beauty consisting of harmony of line and form.
Let us further consider this difference as shown in comparison of the
Apollo and the Bacchus.

The Apollo satisfies alike the intellect and the eye by its beautiful
outlines. [We are not yet ready to discuss beauty of expression.] The
Bacchus less ideal and more humanly natural cannot so satisfy a highly
aesthetic temperament. In neither work is there much of sentiment
expressed. The distinctively moral side plays a secondary part, unless
we consider beauty itself a moral factor,--a theory that may be
sustained. In neither beautiful marble is there revealed any sensual
dominance, though the Bacchus, notwithstanding its plastic superiority,
rather inclines that way. The Apollo has been loudly extolled for the
pride of its attitude and its divine calm in the encounter with the
serpent Python; and still it is said that "a god could not have cause
for so great pride in the conquest