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To judge a work of art one should contemplate it until its message is clear; then, and only then, analyze it to determine if all its parts and its handling are right for achieving that message. Do not condemn a work for being what it is not; do not ask a Romanesque figure to have Greek proportions, nor expect an abstract work by Constantin Brancusi to reproduce nature as much as a statue by Auguste Rodin. Sculpture Related to Architecture.—Architectural sculpture may serve to illustrate the application of some of the factors discussed above to particular problems. In Egypt, sculpture on the exteriors of temples was simplified to deeply incised outlines with only slight modeling of the figures within (sunken relief) in order that the viewer readily might read the meaning in the prevailing, intense light. On the interior walls of temples and tombs the use of low relief prevailed. Where the light was dim this relief was made more visible by painting.

These significant pti poses have generally been served by sculpture ( considerable size, and there is no doubt that largi ness promotes an effect of impressiveness i sculpture as it does in architecture. This i borne out by the observation that most sculptur which has been made merely to embellish or t delight is definitely under life-size or even of th statuette category. A notable exception to thi rule is found in fountain sculpture from the 16t! century on, where the architectural or arborea setting often requires commensurate scale in tb sculpture.

After the archaic period, such color as the figurines had was applied after firing and has seldom survived well. The so-called Tanagra figurines of the Hellenistic period were elegant studies of women; they had some pretense to minor sculpture, and were sometimes well colored. They were from mainland Greece, but there were related schools in eastern Greece, which also produced some fine gilt terra-cottas. Relief plaques were also made for decorative or votive purposes. Of these there were important classical series from Melos (cutouts) and from Locri in southern Italy, with religious scenes related to the worship of Persephone.