  Herder’s emphasis on the sense of touch and its centrality to the experience of sculpture builds upon his interpretation of the debate about the relation between sight and touch in which Locke, Berkeley, and Diderot had all argued that we do not correlate the deliverances of the two senses innately, but have to learn from experience that an object that looks a certain way also feels a certain way, or vice versa (see Sculpture, pp. 33–8). But he takes this thesis a step further by arguing that it is touch that reveals the true form of objects, while sight merely reveals or plays with their superficial appearance. Thus, although sight initially seemed to be the paradigmatic vehicle of knowledge, Herder ultimately concludes that “in painting there is merely beautiful deception” while in sculpture there is “primary truth” (“Fourth Grove,” p. 314).  The passages from Sculpture also display what Herder thinks is the significance of the perception of the true form of objects through the tactile medium of sculpture: it communicates to us the feeling of life in the sculpture and in turn arouses our own feeling of being truly alive. In the case of sculpture, both the artist and the audience can fully feel the emotions and passions of life that made Pygmalion wish that his beautiful creation could come alive. This view of the power of art is what Herder finds missing in Riedel and perhaps even in Lessing himself.