Perfection of style.-Mode of imitation.

present and future. It will be at once understood that the book which supplies these subjects is the sacred Scriptures.

The art of sculpture* imitates with more or less completeness the real bulk of objects, their substance and form, but it does not imitate their colour. This restriction is the result of a comprehensive view of imitation; it is by no means from actual impossibility, but because the end of genuine illusion would be defeated by the attempt. A statue coloured to the life might deceive the spectator for a moment, but he would presently discover, that life and motion were wanting; and the imitation would be consequently incomplete. Whatever is attempted by the arts, the perfection of style requires that the imitation, however really imperfect with reference to nature, or even with reference to other modes of representation, should suggest no want. The imagination then assents to the illusion, though the senses are far from being deceived.

As it is well known that the ancients occasionally added colour to their statues, it may be observed that the colours employed were probably never intended to increase the resemblance of the object to nature, they served only to insure distinctness, or were merely for ornament. The gilding of the hair, for instance, however objectionable, would not be condemned on the ground of its being too close an imitation of real hair. It would, indeed, soon be apparent that the differences which colours in nature present-for example, in the distinction of the face from the hair, and of the drapery from the flesh-require to be met in sculpture by some adequate or equivalent differences; hence, the contrasts

*The succeeding remarks are from Eastlake's "Contributions to the Fine Arts."

Degree of resemblance proposed.—Chief object of imitation.

adopted were either greatly conventional or dictated such a choice of nature as was best calculated to supply the absent quality.

It will first be necessary to inquire what degree of resemblance was proposed in the imitation of the living form. In the fine examples of sculpture the surface of the skin, though free from minute accidents, is imitated closely. The polish is, however, uniform; first, because any varieties in this respect could not be distinguished at a due distance; and secondly, because a rough surface on marble in the open air is sure to hasten the corroding effect of time, by affording minute receptacles for dust r rain, while in interiors the rough portions would be soonest soiled.

In polishing the marble, the ancient sculptors were sometimes careful not to obliterate or soften too much the sharp ridges of the features, such as the edges of the eyelids, lips, &c. These sharpnesses were preserved, and occasionally exaggerated, in order to insure a distinct light and shade on the features at a considerable distance. Such contrivances, it is almost needless to say, were in a great measure dispensed with in statues intended for near inspection. Lastly, the marble received a varnish rather to protect the surface than to give it gloss.

These modes of finishing the surface are detailed, because it is of importance to remark, that this was the extent of the imitation. The varnish, doubtless, would give mellowness to the colour of the marble; but it may be assumed that a statue thus finished was nearly white.

The flesh is always the master-object of imitation in the antique statues; the other substances, drapery, armory, hair, or whatever they may be, are treated as accessories, to give value and truth to the naked. In nature it is possible for hair to be so smooth as to offer scarcely any difference in surface from flesh. Indiscriminate imitation in this particular, has also had its advo

Relative effect in sculpture of the time of Hadrian.

cates, and many Italian statues want colour to make the hair distinct from the face. The hair in the antique, whether crisp in its undulations, like that of the Venus of Milo; or soft, like that of the Medicean Venus; or bristled in unequal masses like that of the Dying Gladiator; or elaborately true, like that of the Lucius Venus; or whether even, as in the early Greek works, it is represented by undulating scratches, or by a series of regular curls, it is always more or less rough and channelled, so as to present a surface, sometimes from its deep shades almost approaching a mass of dark, opposed to the face. All this is only a judicious choice, and a skilful translation of nature.

In these and similar modes of distinction, as the accessories are treated in a relative and comparative manner; they cannot possibly approach so near to nature as the flesh. This relative effect is generally compatible with the admission of one or more of the proper qualities of the accessories; but it sometimes happens that, in them, the relative effect alone is studied. Thus, a detached portion of the hair of the Laocoon, or of the Dying Gladiator, would hardly be recognized for what it represents; the same might be said of detached portions of some draperies. This large principle of imitation is not to be recognized in less perfect. examples of the art. The sculpture of the time of Hadrian, even when of colossal size, and requiring to be seen at some distance, is indiscriminately finished throughout. The master-object of imitation is consequently less effective.

The possibility of imitating drapery literally, accounts for some of the practices of the ancient sculptors, which, though judicious, have been sometimes objected to. Difficult as it may be supposed to be, to imitate a flexible substance in stone, the surface which drapery presents, in a quiescent state, may be copied in marble so as to produce illusion; for the surface being completely rendered,

Degree of resemblance proposed.-Chief object of imitation. adopted were either greatly conventional or dictated such a c of nature as was best calculated to supply the absent quality

It will first be necessary to inquire what degree of resemb was proposed in the imitation of the living form. In th examples of sculpture the surface of the skin, though free minute accidents, is imitated closely. The polish is, ho uniform; first, because any varieties in this respect could distinguished at a due distance; and secondly, because a surface on marble in the open air is sure to hasten the co effect of time, by affording minute receptacles for dust while in interiors the rough portions would be soonest soile

In polishing the marble, the ancient sculptors were so careful not to obliterate or soften too much the sharp ridge features, such as the edges of the eyelids, lips, &c. Thes nesses were preserved, and occasionally exaggerated, in insure a distinct light and shade on the features at a able distance. Such contrivances, it is almost needless were in a great measure dispensed with in statues for near inspection. Lastly, the marble received a varni to protect the surface than to give it gloss.

These modes of finishing the surface are detailed, bec of importance to remark, that this was the extent of the i The varnish, doubtless, would give mellowness to the the marble; but it may be assumed that a statue thus was nearly white.

The flesh is always the master-object of imitation i tique statues; the other substances, drapery, armory whatever they may be, are treated as accessories, to and truth to the naked. In nature it is possible for ha smooth as to

carcely any difference in surface i has also ha