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tenance of the great actress above mentioned, in 
the parts of Isabella and Belvidere, can alone form 
a conception of the wonderful effect of this marble. 
In contemplating it, every exquisite variety of that 
expression seems to pass in turn over its breathing 
features. The reader must pardon my enthusiasm. 
This was the first truly fine piece of sculpture I 
ever saw. I had not before any conception of the 
powers of art. I shall have few occasions of re- 
lapsing into such rapture.” 
The following, though but a translation, yet 
only a mind inspired with the impression could 
have done justice to it. “Conscious,” the writer tells 
us, “of my own inability to furnishadequate concep- 
tions upon the subject, I beg leave to offer Winkel- 
man’s LZymn, as De la Lande has well denominated 
it, in honour of the famed Apollo. It is a curiosity 
which has not appeared in English; and while it 
exemplifies the genius of its author, will afford a 
conclusive proof that the study of antiquities is not 
always a dry one.” 
WINKELMAN’S HyMn To THE APOLLO BELVIDERE. 
“ Of all the productions of art which the ravages 
of time have spared us, the statue of Apollo is in- 
disputably the most sublime. The artist has con- 
ceived this performance from ideal being, and has 
made so much use of matter only as was necessary 
to execute and give a body to his thought. As far 
as the description of Apollo in Homer surpasses 
those descriptions which other poets have made after 
