480 OBSERVATIONS ON SCULPTURE. 
other on the left, of the entrance to the Choir of 
St. Paul’s; and the severe dignity of the Philo- 
sopher with his Scroll, and the Philanthropist 
with his Prison Key, countenance the mistake of 
a distinguished foreigner, who paid his respects 
to them as Saint Peter and Saint Paul. In order 
to get rid of the awkwardness of modern dress, 
the Sculptor has made the head, neck, arms, and 
feet bare, and thrown a robe over the Doctor, 
which reaches to the Pedestal, displaying amid 
the arrangement of its folds, the manly form 
which it covers. 
FLAxMAN was as distinguished by the purity of 
his Taste, as by the excellence of his Statues. 
The Statue of Sir Joshua Reynolds is one of his 
first and best. The Painter holds his Discourses 
on Art in his right hand, and the tip of the 
fingers of his left reaches the top of a pedestal 
or altar, on the side of which is a Portrait of 
Michael Angelo. The Statue of Pitt in the 
Town Hall of Glasgow, exhibits the Costume 
which Flaxman abhorred. Both man and dress 
are too real and literal, to excite that loftiness of 
feeling, which is, or ought to be, the grand aim 
of noble works of Art. Here is a specimen of 
Tailor Sculpture—the Capes, Cuffs, Seams, But- 
