The subject of this article is the sculptural work of art; not aesthetic theory and not the philosophical work of Roman Ingarden. And although this collection takes as its unifying theme the aesthetics of Ingarden, I'm confident that he would find this emphasis congenial. For, in this case, it is the phenomenon of sculpture itself which makes Ingarden's reflections so welcome. Little could have give him greater satisfaction than to know that appreciators and theorists of various art modes were capable of finding assistance in his research into specific art forms. And assistance he does provide. For although he carefully avoided giving too blatant an impression of being involved in systematic theory construction, out of the diversity of his inquiries into central art forms emerges a beautifully appointed aesthetic theory. And this theory could no more be his than if it carried with it his personal imprimatur.