This thesis explores both the conceptual register and tropic play of sculpture as a fine art in some of the key writings of Plato, Immanuel Kant, Johann Gottfried Herder, and Georg Wilhelm Friedrich Hegel. It serves to show how sculpture is both shaped by and reshapes in turn philosophy's explicit register of sculpture as an art form. The central argument within this thesis is that sculpture turns its back on philosophy as soon as philosophy casts sculpture out of its mould. Registering sculpture as a fine art within philosophy reveals that whilst specific examples of sculpture may appear to confirm the conceptual meanings ascribed to it by the philosophers Kant, Herder and Hegel, can equally show its unreliability and inconsistency as an art form. The title of this thesis The Philosophy of Sculpture: The Sculpture of Philosophy serves as a heading for an engagement with an explicit reading of sculpture as a fine ati and the sculptural as a trope. Therefore, the sculpture of philosophy is read as a heading for the presentation of sculpture as an object or art form in the writings of Kant, Herder and Hegel. The philosophy of sculpture appeals to an engagement with the use of the sculptural through the tropes of casting, moulding, sculpting, carving, modelling, shaping and forming in the writing of philosophy. This will show that there is something specifically philosophical about sculpture as a practice. Furthermore, the crossovers between these two approaches highlight the effects they give place to, particularly in the context of reading sculpture through a case study. Therefore, the latter half of this thesis engages with the ways in which the sculptural appears within architectural formations and explores an alternative reading of sculpture in relation to some of the themes generated out of a collaborative project between the philosopher Jacques Derrida and the architect Peter Eisenman.