 Plato seems to distinguish between the pious old art and its modernized forms, as he distinguishes analogously among poems. Statues suggest communication with divinities (Laws 931a, Phaedrus230b). Wax likenesses participate in the magic of effigies (Laws 933b). Metaphorically the dialogues imagine a body as a statue that invites comparison with its invisible referent the soul (Charmides 154c, 157d-158c; Symposium 215b, 216d-e), or as a sêma “tomb” but also “sign” of the soul within (Cratylus 400b-c, Gorgias 493a). Compared to such referential relations, the mimetic art object’s reference to what is visible can feel like a forcible misdirection of attention to appearances and to delight with visibility as such.