character were a primary consideration: and, although he set the antique sculpture before him as an example and a guide, this marked distinction is to be taken between his view of the subject and that of the ancients; he made ideal beauty and form subservient to expression; they, on the contrary, made expression and animation subservient to form. The Laocoon and his two sons have more expression in their countenance than all the other antique statues united; yet Sir Joshua Reynolds has observed that, even in this instance, there is only the general expression of pain, and that the pain is still more strongly expressed by the writhing and contortion of the body than by the features. In consulting all the examples which are left of ancient sculpture, it would seem, they established it as a general principle that, to preserve the most perfect beauty, in its most perfect state, the passions were not to be expressed; all of which may be supposed, in some degree, to produce distortion and deformity in the features of the face. The group of the boxers is a remarkable instance in favor of this opinion; they are engaged in the most animated action with the greatest serenity of countenance; and, without attributes, it would be difficult to discriminate between the Juno or the Minerva, the Bacchus or the Meleager; nevertheless, in the Apollo Pythius, there is a graceful, negligent, and animated air, and in the Discobulus a vulgar eagerness of expression, which deserves to be remarked, to show the nice discrimination of character which the ancients were capable of making when the expression was not incompatible with what they considered as a higher excellence. The Bacchus of Michel Angiolo is an attempt to unite a degree of drunkenness with his character; but, inasmuch as that effect is produced, both the sculpture and the deity are degraded of this character there are several examples in antique gems, but, however skilful the representation may be in so small a size as a gem, it is certainly not a fit subject for a statue of the proportion of life. The two female figures composing part of the present monument of Julius II. are simple and elegant; and those of Morning and Night, in the Lorenzo Chapel, are composed with great grandeur of design. The works of Michel Angiolo have always a strong and marked character of their own, his thoughts are elevated, and his figures are conceived with dignity; and, if he wants the purity and correctness of the antique (which he certainly does, in an eminent degree), his faults never degrade him into feebleness; when he is

The Laocoon is finished with the chisel, showing an incredible command of execution; but in Rome I once heard a very eminent sculptor say that he believed the statue had been previously finished with the rasp and file, and that the marks of the chisel were made afterwards, to give the appearance of facility to the execution, and at the same time a roughness to the surface, which was more favorable to the general effect of the figure than if it had been left quite smooth. If the statue had been brought down to this surface at once, he said, the dexterity of the artist was more wonderful than any thing he knew of in sculpture.'

not sublime he is not insipid; the sentiment of aggrandising his subject ever prevails, and, however he may fail in the execution, his works are still entitled to the first rank among modern productions in sculpture. Barry has truly observed, when speaking of his statue of Moses, that, although that figure may be considered as rather extravagant, yet it contains such proofs of knowledge and capacity as will ever make his name sacred among artists; and this criticism may be extended with equal propriety to his other works, whatever may be their faults. Michel Angiolo was of the middle stature, bony in his make, and rather spare, although broad over the shoulders. He had a good complexion; his forehead was square, and somewhat projecting; his eyes rather small, of a hazel color, and on his brows but little hair: his nose was flat, being disfigured by a blow he received from Torrigiano, a contemporary student with Michel Angiolo, and a sculptor of great merit, but a proud, inconsiderate, and ungovernable character.

Bevenuto Cellini, in his own life, has recorded this affair with Michel Angiolo, as it was related to him by Torrigiano himself:-' His conversation one day happened to turn upon Michel Angiolo Buonarroti, on seeing a drawing of mine made from the celebrated cartoon of the Battle of Pisa. This Buonarroti and I,' said Torrigiano, when we were young men, went to study in the church of the Carmelites, in the chapel of Masaccio; and it was customary with Buonarroti to rally those who were learning to draw there.. One day, amongst others, a sarcasm of his having stung me to the quick, I was extremely irritated, and, clutching my fist, gave him such a violent blow upon his nose, that I felt the cartilage yield as if it had been made of paste, and the mark I then gave him he will carry to his grave.' B. Cellini's account of Torrigiano is, That he was a handsome man, but of consummate assurance, having rather the air of a bravo than a sculptor : above all, his strange gestures and his sonorous voice, with a manner of knitting his brows enough to frighten any man who saw him, gave him a most tremendous appearance, and he was continually talking of his great feats amongst those bears of Englishmen whose country he had but recently left.' We are indebted to Torrigiano for the monument of Henry VII. in Westminster Abbey, finished, according to Stow, in 1519, and for which the sculptor received £1000. His ungovernable and restless habits often precipitated him into great difficulties, and the circumstances of his death furnish a melancholy instance of the vicissitudes of life, and the baneful effects of inquisitorial jurisprudence.

Upon leaving England he visited Spain, and, after distinguishing himself by many excellent works, was employed by the duke D'Arcus to execute in marble a Madonna and infant Christ, of the size of nature, with high promises to be rewarded in proportion to his merit. As the duke was a grandee of the first rank, Torrigiano flattered himself with a proportional expectation. After much study and application he completed his work to his own satisfaction; and his performance was seen with delight and reverence. Impatient to possess this treasure, the duke im

mediately sent for it; and, that his generosity might be displayed to the greatest advantage, he loaded two lacqueys with the money to defray the purchase. The bulk was promising; but when the bags were found to contain nothing but brass maravedi, which amounted only to the small sum of thirty ducats, vexation and disappointment roused 'Torrigiano's resentment; who, considering this present rather as an insult than as a reward for his merit, on a sudden snatched up his mallet, and without regard to the perfection of his workmanship, or the sacred character of the image, he broke it into pieces, and dismissed the lacqueys with their load of farthings to tell the tale. The grandee, with every passion alive to this merited disgrace, and perhaps impressed with horror for the sacrilegious nature of the act, presented him before the court of inquisition, and impeached him for his conduct as an infidel and a heretic. Torrigiano urged the right of an author over his own creation: Reason pleaded on his side, but Superstition sat in judgment, and he was condemned to lose his life with torture; but the holy office lost its victim-Torrigiano starved himself to death in prison (1522), to avoid its torments and the horror of the execution! He was about fifty years of age.'-Vasari, tom. iii. p. 76.

Canova and Thorwaldsen, together with our own Chantrey, occupy the topmost rank among sculptors of the present day, or rather did so until death snatched away the former of these eminent artists. Still we are inclined to think that the performances of Canova have been somewhat over-rated. Many of them have a studied and theatrical air quite inconsistent with good taste as well as with the higher productions of Grecian art, which this sculptor always affected to copy. Mr. Mathews, in his Diary of an Invalid, speaking of Canova's Venus, one of his most vaunted figures, says: The boudoir of the Pitti Palace, in the centre of which stands Canova's Venus, brilliantly illuminated, and lined with mirrors, reflected the beauties of her figure in all directions, and exhibited the statue to the highest advantage. This is the statue which occupied the pedestal of the Medicean Venus during her flight to Paris, but I can find nothing divine about Canova's Venus. She is not worthy to officiate as chambermaid to the goddess of the Tribune. It is simply the representation of a modest woman, who seems to shrink from exposure in such a dishabille; while her Grecian prototype, in native innocence and simplicity, scarcely conscious of nakedness, seems to belong to an order of beings to whom the sentiment of shame was as yet unknown. The attitude of Canova's is constrained, and perhaps even awxward. This may arise from the manner in which she compresses that scanty drapery which the sculptor has given her, intending, I suppose, to double every charm it seeks to hide.' The symmetry, too, is by no means perfect. The head is manifestly too large. It is perhaps unfair to attribute to the sculptor the faults of the marble; but it is impossible not to remark that, even if the work had been more perfect than it is, the unfortunate flaws, just in those places where they are most mal à-propos, must still

have detracted much from its beauty. Many of the copies of this statue seem to me quite equal, if not superior, to the original; an infallible proof, if the remark be correct, of its mediocrity of merit.' The same intelligent traveller thes speaks of the talents of Thorwaldsen, a Danish sculptor practising at Rome: There is a freshness and originality in his designs, guided by the purest taste. What can be more elegant and beautiful than his basso-rilievo of Night? His Venus victrix approaches nearer than any mo dern statue to the Venus di Medicis. There is a shepherd, too, which is a delightful specimen of simplicity and nature; and the charm of these statues is, that while they emulate they have not borrowed any thing from the works of the ancients.'

On the works of our own Chantrey we are disposed to enlarge with all the spirit of nationality; but a recollection of our confined limits, together with that sense of delicacy which restrains us from discussing minutely the merits of a living artist, withhold us. Mr. Chantrey's principal productions are busts; but the work which first fixed his high reputation, and is still regarded by many as his chef-d'œuvre, is a group of sleeping infants, to be seen in the cathedral at Litchfield.

Of the different modern modes of process.Works of sculpture are performed either by hollowing or excavating, as in metals, agates, and other precious stones, and in marbles of every description; or by working in relief, as in bassi rilievi in the materials just mentioned, or in statues of metal, clay, wood, wax, marble, or stone. The excavation of precious stones forms a particular branch of art called intaglio, which, together with the working them in relievo, when the term camayeu is applied to them, belongs to the art of seal-engraving.

The excavation of metals constitutes the art of engraving, in its various branches, on metal of any kind; and its relief comprises enchasing, casting in bronze, &c.

The process of hollowing hard stone or marble will need no particular description; especially as it is now wholly in disuse, except for the forming of letters in monumental or other inscriptions.

In working in relievo the process is necessarily different, according to the materials in which the work is performed. As not only the beginning of sculpture was in clay, for the purpose of forming statues, but as models are still made in clay or wax, for every work undertaken by the sculptor; we shall first consider the method of modelling figures in clay or wax.

Few tools are necessary for modelling in clay. The clay being placed on a stand, or sculptor's easel, the artist begins the work with his hands, and puts the whole into form by the same means. The most expert practitioners of this art seldom use any other tool than their fingers, except in such small or sharp parts of their work as the fingers cannot reach.

In modelling in wax, the artist sometimes uses his fingers, and sometimes tools of the same sort as those alluded to for modelling in clay. It is at first more difficult to model in wax than

in clay, but practice will render it familiar and

easy.

Of the use of the model.-Whatever considerable work is undertaken by the sculptor, whether basso-rilievo, or statue, &c., it is always requisite to form a previous model of the same size as the intended work; and the model being perfected, according to the method before described, whether it is in clay, or in wax, or a cast in plaster of Paris, becomes the rule whereby the artist guides himself in the conduct of his work, and the standard from which he takes all its measurements.

Of sculpture in wood.-A sculptor in wood should first take care to choose wood of the best quality, and the most proper for the work which he intends to execute. If he undertakes a large work, requiring strength and solidity, he ought to choose the hardest wood, and that which keeps best, as oak and chestnut; but, for works of moderate size, pear or apple trees serve very well. As eyen these latter woods are still of considerable hardness, if the work consists only of delicate ornaments, the artist will find it preferable to take some more tender wood, provided it is at the same time firm and close; as, for instance, the Indian tree, which is excellent for this purpose, as the chisel cuts it more neatly and easily than any other wood.

The ancients made statues out of almost every different kind of wood. At Sicyon was a statue of Apollo made of box; the statue of Diana at Ephe. sus was of cedar. As these two sorts of wood are extremely hard and undecaying; and as cedar, in particular, is of such a nature as, according to Pliny, to be nearly indestructible, the ancients preferred them for the images of their divinities. In the temple built on Mount Cyllene in honor of Mercury, Pausanias relates, that there was a statue of that god made of citronwood, eight feet in height. This wood was also much esteemed. The cypress likewise, being a wood not apt to spoil, nor to be damaged by worms, was also used for statues; as were the palm-tree, olive, and ebony, of which latter, according to Pliny's account, there was another statue of Diana at Ephesus. Several other kinds of wood were equally employed for this purpose, even the vine, of which the same author says there were statues of Jupiter, Juno, and Diana. Felibien speaks of a French artist at Florence, of the name of Janni, who executed several statues in wood, in a style of finishing equal to marble, and particularly one of St. Roque, which Vasari considered as a marvellous production. The beauty of sculpture in wood consists in the tender manner of cutting the wood, free from all appearance of hardness or dryness. Of sculpture in stone and marble.-For sculpture in marble, and other stone, the artist must make use of tools made of good steel, well tempered, and of strength proportioned to the hardness of the material.

We have in a preceding section adverted to the ordinary practice. By the dexterous and delicate use of the chisel, the sculptor gives all the softness and tenderness to the figure, till at length the rasp prepares it for being polished. Rasps are of several kinds, some straight, some curved,

and some harder or softer than others. When the sculptor has thus far finished his work with the best tools he can procure, wherever certair. parts or particular works require polishing, he uses pumice-stone to make all the parts smooth and even. He then goes over them with tripoli, and, when he would give a still higher gloss, he rubs them with leather and straw ashes.

Besides the tools already mentioned, sculptors use also the pick, which is a small hammer pointed at one end, and at the other formed with teeth made of good steel and squared, to render them the stronger. This serves to break the marble, and is used in all places where the two hands cannot be employed to manage the mallet and chisel. The bouchard, which is a piece of iron, well steeled at the bottom, and formed into several strong and short points like a diamond, is used for making a hole of equal dimensions, which cannot be done with cutting tools. The bouchard is driven with the mallet or beetle, and its points bruise the marble and reduce it to powder. Water is thrown into the hole from time to time, in proportion to the depth that is made, to bring out the dust of the marble, and to prevent the tool from heating, which would destroy its temper; for the freestone dust on which tools are edged is only moistened with water to prevent the iron from heating and taking off the temper of the tool by being rubbed dry; and the trepans are wetted for the saine reason. The sculptor uses the bouchard to bore or pierce such parts of his work as the chisel cannot reach without danger of spoiling or breaking them. In using it he passes it through a piece of leather, which leather covers the hole made by the bouchard, and prevents the water from spirting up in his face.

The tools necessary for sculpture, on marble or stone, are the roundel, which is a sort of rounded chisel; the houguet, which is a chisel squared and pointed; and various compasses to take the requisite measures.

The process of sculpture in stone is the same as in marble, excepting that, the material being less hard than marble, the tools used are not so strong, and some of them are of a different form, as the rasp, the handsaw, the ripe, the straight chisel with three teeth, the roundel, and the grater. If the work is executed in freestone, tools are employed which are made on purpose, as the freestone is apt to scale, and does not work like hard stone or marble. Sculptors in stone have commonly a bowl in which they keep a powder composed of plaster of Paris, mixed with the same stone in which their work is executed. With this composition they fill up the small holes, and repair the defects which they meet with in the stone itself.

In the work of Junius, De Pictura Veterum (lib. 2, chap. 3), and in the Bibliothèque Grecque of Fabricius (lib. 3, chap. 24, sect. x.), a catalogue is to be found of ancient authors who have treated of the art of sculpture. Among modern works on the theory and practice of this art, we may cite the following:-Pomponii Gaurici, De Sculptura sive Statuaria Veterum Dialogus, Florent. 1504, 4to., and in the ninth volume of the Thesaurus of Gronovius. L. B. de

Albertis, De Sculptura, Basil, 1540, 8vo., De Colatura et Sculptura Veterum, by Ald. Manuce, also to be found in the ninth volume of the Thesaurus of Gronovius. The third and fourth books of the work entitled Gallus Romæ Hospes, by Ludovicus Demontiosius, Rome, 1585. These have been reprinted in the Dactyliothèque of Gorlaus, likewise in the ninth volume of the Thesaurus of Gronovius. Jul. C. Bulengeres, De Pictura, Plastice, et Statuaria, in his Opuscules, Leyden, 1621, 8vo., and in the ninth volume of Gronovius. P. P. Rubenius, De Imitatione Statuarum Græcarum, in the Cours de Peinture, by Depiles, Paris, 1760, 12mo. The first chapter of the first book, and the fifth and sixth chapters of the second book of the Archæologia Litteraria de Ernesti, treat de Marmoribus, de Toreutice, et de Plastice. Commentationes duæ super Veterum Eboræ, Eburneisque Signis, by M. Heyne, in the first volume of the new Memoirs of the Royal Society of Gottingen; in the fourth and fifth volumes of which same Memoirs we find Monumentorum Etruscorum Artis ad Genera sua et Tempora revocatorum Illustratio, by the same.

Among Italian works :-Il Disegno del S. Ant. Franç. Doni, ove si Tratta della Scultura e Pittura de' Colori, de' Getti, de' Modegli, con molte Cose appartinenti, Venice, 1549, 8vo. Several chapters of the Introduction to Vite de più excellenti Architetti, Pittori e Scultori Italiani, by Vasari, treat of Sculpture. Due Trattati, uno dalle otte principale Parti d'Oreficeria, l'altero in materie dell' Arte della Scultura, dove si ve dono infiniti Segreti per lavorare le Figure di Marmo, e del gettarle di Bronzo, da Benvenuto Cellini, Firenze, 1568, 4to. In the Lezione di M. Benedetto Varchi, Sopra diverse Materie Poetiche e filosofiche, Firenze, 1549, we find a letter of Cellini on the advantage which sculpture has over painting; and another little treatise of this nature is added, by the same author, to the Essequie di Michel Angiolo Buonarroti, Firenze, 1564, 4to. Discorsi sopra le Antichita Romana, di Vincentio Scamozzi, Venice, 1582, with forty folio engravings, contain several articles on sculpture, and on the marbles to be preferred for statues. Il Riposo di Raffaele Borghini, in cui si favella della Pittura e della Scultura e de' più illustri Pittori et Scultori, antichi e moderni, Firenze, 1584, 4to., and 1730, 4to. Discorso intorno alla Scultura e Pittura, di Alessandro Lami, Cremona, 1584, 4to. L'Idea de' Pittori, Scultori, e Architetti, del Cav. Fed. Zuccaro, Torino, 1607, 4to. Avvertimenti e Regole sopra l'Architettura, civile e milit., la Pittura Scultura, e Prospettiva, da Pietro Ant. Barca, Milan, 1620, fol. Le Pompe della Scultura, da Giamb. Moroni, Ferrara, 1640, 12mo. Trattato della Pittura e Scultura, uso ed abuso loro, composto da un Teologo (Father Ottonelli), e da un Pittore (Pietro da Cortona), Firenze, 1652, 4to. Discorso delle Statue, da Giovanni Andrea Borboni, Rome, 1661, 4to. Lettera, nella quale si risponde ad alcuni Quesiti di Pittura, Scultura, &c., addressed to the marquis V. Capponi, by Filippo Baldinucci, Rome, 1681. Sfogamenti d'Ingegno sopra la Pittura e la Scultura, dal P. F. Minozzi, Venice, 1739, 12mo. Raccolta di Lettere sulla

Pittura, Scultura, ed Architettura, scrette da più celebri Personnaggi che in dette Arti fiorirono dal sec. xv. all. xvii. Rome, 1754, 4to, 7 vols. Dialoghi sopra le tre Arti del Disegno, by Giovanni Bottari, Lucca, 1754, 8vo.

In Spanish is the following:-Varia Commensuracion para la Escultura y Architettura, por Don Juan de Arphez Villafane, Madrid, 1675, 4to.

In the French tongue we find :-Conférences de l'Academie Royale de Peinture et Sculpture pendant l'année, 1667, by Felibien, Paris, 1668, 4to. Des Principes de l'Architecture, de la Sculpture, de la Peinture, et des Arts qui en dépendent, by Felibien, Paris, 1697, 4to. Sentimens des plus habiles Peintres, sur la Pratique de la Peinture et de la Sculpture, mis en table de Préceptes, avec plusieurs Discours académiques, by Henri Testelin, Paris, 1680, folio. Traité des Statues, by F. Lemée, Paris, 1688, 8vo. Manuscrit pour connoître les Médailles et les Statues anciennes, by Nicolas de Porcionaro, and four of the most famous and learned antiquaries of Italy, Naples, 1713, 4to. De la Sculpture, du Talent qu'elle demande, et de l'Art des Bas-reliefs, by Dubos, to be found in the fiftieth chapter of the first part of his Réflexions critiques sur la Poésie et sur la Peinture;-Discours sur le Beau Idéal des Peintres, Sculpteurs, et Poètes, by L. H. Ten-Kate, included in a translation of Richardson's Works, Amst. 1728, 8vo. Lettre sur la Peinture, Sculpture, et Architecture, Amst., 1749, 8vo. Essai sur la Peinture, Sculpture, et Architecture, by L. P. de Bachaumont, Paris, 1731, 12mo. In the twentyninth volume of Memoires de l'Académie des Inscriptions is a Memoir of the Comte de Caylus, sur un Moyen d'incorporer la Couleur dans le Marbre, et de fixer le Trait. Réflexions sur la Sculpture, by E. Falconet, Paris, 1761, 12mo. Nouveaux Sujets de Peinture et de Sculpture, Paris, 1755, 12mo. Essai sur la Sculpture, to be found with the Traité de Peinture of Dandré Bardon, Paris, 1765, 2 vols. 12mo. Histoire Universelle traitée relativement aux Arts de Peindre et de Sculpter, Paris, 1769, 2 vols. 12mo. Ichnographie, ou Discours sur les quatre Arts d'Architecture, Peinture, Sculpture, et Gravure, avec des Notes historiques, cosmographiques, chronologiques, généalogiques, et Monogrammes, Chiffres, Lettres initiales, Logogriphes, &c., by M. Herbert, Paris, 1767, 5 vols. 12mo. De l'Usage des Statues chez les Anciens, Essai historique, Brussels, 1768, 4to, with prints. (The Comte de Guasco is the author of this work). Lettre sur la Sculpture à M. Théodore de Smeth, by M. Hemsterhuis the younger, Amst. 1768, 4to., with engravings. Observations historiques et critiques sur les Erreurs des Peintres, Sculpteurs, &c., dans la Représentation des Sujets tires de l'Histoire-sainte, avec des Eclaircissemens pour les rendre plus exactes, Paris, 1771, 12mo. In the Cours d'Architecture de F. Blondel (Paris, 1771), we find a Mémoire sur l'Origine de la Sculpture.

The following also may be cited as conveying information with respect to the execution of various works of sculpture :-Discours sur la Statue Equestre de Fredéric Guillaume érigée sur

le Pont-Neuf à Berlin, by C. Ancillon, Berlin, 1703, fol. Description de ce qui a été pratiqué pour fondre d'un seul jet la Statue Equestre de Louis XIV. en 1699, by G. Boffrand, Paris, 1743, fol. Description des Travaux qui ont précédé, accompagné, et suivi la Fonte en bronze, d'un seul jet, de la Statue Equestre de Louis XV., Paris, 1768, fol. Description de la Statue Equestre que la Compagnie des Indes Orientales à Copenhague, a consacrée à la Gloire de Frédéric V., avec les explications des motifs qui ont déterminé le choix des différentes parties qu'on a suivi dans la composition de ce monument, by J. F. J. Sailly, Copenhagen, 1771, fol. In German:-Joachim de Sandrart, Admiranda Artis Statuariæ, Normandy, 1680, fol. Summary of the History and Principles of the Fine Arts and Sciences, the first division of which relates to the history and principles of sculpture, Berlin, 1772, 8vo. by A. F. Busching. Sketch of a History of the Arts of Design, Hamburgh, 1781, 8vo. by the same. Philosophy of Sculptors, by E. L. Huch, Brandenburgh, 1775, 8vo. The fifth and sixth chapters of the Treatise on Literature and the Works of Art of Antiquity, by J. F. Christ, Leipsic, 1776, 8vo. Treatise on the Plastic Art, including sundry Observations on Form and Figure, Riga, 1778. In the first volume of an Essay on an Academy of Fine Arts, by C. F. Prangen, we find a treatise on the Mechanism of Sculpture. Essay on a History of Sculpture among the Ancients, by Hofstæter, Vienna, 1778, 8vo.: in addition to which the different works of Winkelman may be consulted.

In our own language the works more particularly useful for reference are:-A Letter on Poetry, Painting, and Sculpture, by H. King, London, 1768, 8vo. Collection of Greek, Etruscan, and Roman Antiquities, from the Hamilton Cabinet, Naples, 1766, folio, which work contains a paper on Expression in Painting and Sculpture, as well as an Historical Summary on the State of Sculpture among the Greeks.

The following books treat of certain monuments of antique sculpture in particular:-Callistrati, Exopao, sive Descriptio Statuarium, found among the works of Philostrates. The Description of Greece, by Pausanias, and the 33d and 37th books of Pliny's Natural History. Several Mémoires of the Comte de Caylus on passages of Pliny relative to objects of art, are inserted in the 19th, 25th, and 32d vols. of Mémoires de l'Académie des Inscriptions et Belles Lettres. Edmundi Figrellii, De Statuis illustrium Romanorum, liber singularis, Holmiæ, 1656, 8vo. Joannes Henrici Schlemmii, De Imaginibus Veterum Atriensibus Prælim. et cubicularis Dissertatio, Jena, 1664, 4to. Frederici Mulleri, delineat lib. xi. quos molitus est de Statuis Romanorum et præcipuè de Natura Statuarium quibus prisci Romani bene meritos honorabant, Giessæ, 1664, 4to. Joannis Nicolai, Diatribe de Mercuriis et Hermis, Francofurti, 1701, 12mo. Chr. Gottfr. Barthii, De Imaginibus Veterum in Bibliothecis vel alibi positis, Hallæ, 1702, 4to. Jacobi Gronovii, De 'Imaginibus et Statuis principum Dissertatio, Ludg. Ba., 1706, 4to. J. Munchii, De Statuis Veterum

Romanorum Dissertatio, Hafniæ, 1714, 4to. F. G. Freytagii, De Statuis Tereλeoμevais Veterum Dissertatio, Lip., 1715, 4to. Oratorum et Rhetorum Græcorum, quibus Statuæ honoris causa positæ fuerunt, decas, Lips., 1752, 8vo., by the same. G. G. Boerneri, De Statuis Achilleis Dissertatio, Lips., 1759, 4to.

With respect to sculpture, as practised by the moderns, the reader is referred to:-Cabinet des Singularités d'Architecture, Peinture, Sculpture, et Gravure, by F. Le Comte, Paris, 1699, 3 vols. 12mo. Catalogue historique du Cabinet de Sculpture Française de M. de la Live de July, Paris, 1764, 12mo. Monumens érigés en France à la Gloire de Louis XIV. précédés d'un Tableau du Progrès des Arts et des Sciences sur ce Règne, ainsi que d'une Description des Honneurs et des Monumens accordés aux grands Hommes, tant chez les Anciens que chez les Modernes, et suivis d'un Choix des principaux Projets qui ont été proposés pour placer la Statue du Roi, by M. Patte, Paris, 1765, fol., with fiftyseven plates. Antiquités Nationales, ou Recueil de Monumens pour servir à l'Histoire de l'Empire Français, tels que Tombeaux, Inscriptions, Statues, Vitraux, Frescoes, &c., tirés des Abbayes, Monastères, et Châteaux, by A. L. Millin, Paris, 1791, 5 vols. 4to. and fol., with plates.

A catalogue of ancient sculptors is to be found in the second edition of De Pictura Veterum, by Junius, Rot. 1694, fol., whilst the following treat of modern Italian sculptors :-Vite de' più insigni Pittori e Scultori Ferraresi, by G. Baruffaldi, Ferrara, 1705, 4to. Notizie intorno alla Vita ed alle Opere de' Pittori, Scultori ed intagl. di Bassana, by G. Verci, Bass. 1775, 8vo. Catal. Istoriche de Pittori ed Scultori Ferraresi, e dell' loro Opere, Ferrara, 1783, 2 vols. 8vo.

On modern Spanish sculptors, independently of the work by Bermudez, already quoted (see preceding article), we have :-Vidas de los Pintores y Estatuarios eminentes Espagnoles, by D. A. P. Velasco, London, 1742, 8vo., and, in French, Paris, 1749, 12mo. This forms the third part of the same author's Museo Pittorici, Madrid, 1725, fol.

On German sculptors:-J. C. Schumann, Alcimedon, or Lives of the most celebrated German Sculptors and Engravers, Dresden, 1684, 8vo. History of the best Swiss Artists, by J. C. Fussli, Zurich, 1780, 5 vols. 8vo. Notices of sundry Artists of Frankfort, of the Life and Works of its Painters and Sculptors, by Husgen, Frankfort, 1780, 8vo. Several papers on the same subject are likewise to be found in the Journal of Arts of M. de Murr, and in that of Meusel.

We conclude with the admirable practical remarks of Sir Joshua Reynolds. The sculptor,' says Sir Joshua, may be safely allowed to practise every means within the power of his art to produce a deception, provided this practice does not interfere with or destroy higher excellencies; on these conditions he will be forced, however loath, to acknowledge that the boundaries of his art have long been fixed, and that all endeavours will be vain that hope to pass beyond the best works which remain of ancient sculpture.

Imitation is the means, and not the end, of art; it is employed by the sculptor as the language