OBSERVATIONS ON SCULPTURE. 483 
remote and fanciful allegory, or wandering from 
the fidelity of resemblance. A Statue should be 
like, but the personal likeness should not predo- 
minate over the expression of mental character ; 
and the introduction of adventitious drapery may 
display the skill of the artist, whilst it nfay over- 
come the ungainly stiffness of Modern costume. 
So in landscape painting, the Painter preserves 
the truth and feeling of the landscape by depict- 
ing the light, the shadows, and the character of 
the scene, together with the natural local objects. 
And by this art the work of genius is distinguish- 
ed from the dull, formal, and exact outline pro- 
duced by the mechanical process of the Camera 
Lucida. The portrait painter also, such as the 
late Sir Thomas Lawrence, not merely transfers 
a likeness to his canvas, but combines with it, 
expression, animation, and grace; until the por- 
trait becomes a memorial of mental gnalities, as 
well as of individual proportions. 
And it is in this way that the Sculptor copies 
Nature, and so appeals to the affections and sen- 
sibility of the spectator. He embellishes with 
taste and imagination, and thus awakens in the 
minds of others, ideas of grace, beauty, or genius. 
It is after this manner that Cuanrry, by his 
