16S 



BOUDBBI SCULPTURE. 



out; but this changes, by degrees, into a kiml of 

 viscid, serous discharge, much intermixed with 

 smnll pieces of a white substance. The tumors 

 subside gradually, whilst the ulcers at the same 

 time open more, and spread unequally in various 

 directions. After a time, some of the ulcers heal; 

 but other tumors quickly form in different parts of 

 the body, and proceed on, in the same slow manner 

 as the former ones, to suppuration. In this man- 

 ner the disease goes on for some years; and, ap- 

 pearing at last to have exhausted itself, all the ul- 

 cers heal up, without being succeeded by any fresh 

 swellings, hut leaving behind them an ugly pucker- 

 ing of the skin, and a scar of considerable extent. 

 This is the most mild form under which scrofula 

 appears. In more virulent cases, the eyes are parti- 

 cularly the seat of the disease, and are affected 

 with ophthalmia, giving rise to ulcerations in the 

 tarsi, and inflammation of the tunica adnata, ter- 

 minating not unfrequently in an opacity of the 

 transparent cornea. The joints become affected ; 

 they swell, and suffer excruciating deep-seated 

 pain, which is increased upon the slightest motion. 

 The swelling and pain continue to increase; the 

 muscles of the limb become at length much wasted. 

 Matter is soon afterwards formed, and this is dis- 

 charged at small openings made by the bursting of the 

 skin. Being, however, of a peculiarly acrimonious na- 

 ture, it erodes the ligaments and cartilages, and pro- 

 duces a caries of the neighbouring bones. By an ab- 

 sorption of the matter into the system, hectic fever at 

 last arises, and, in the end, often proves fatal. The 

 treatment consists chiefly in the use of means 

 adapted to promote the general health, a nutritious 

 diet, easy of digestion, a pure, dry air, gentle exer- 

 cise, friction, cold bathing, especially in the sea, 

 and strengthening medicines, as the preparations 

 of iron, myrrh, &c. Various mineral waters, and 

 other remedies which moderately promote the 

 secretions, appear also to have been often useful. 

 In irritable states of the system, hemlock has been 

 employed with much advantage. The applications 

 to the tumors and ulcers must vary according to 

 the state of the parts, whether indolent or irritable ; 

 where the tumors show no disposition to enlarge, 

 or become inflamed, it is better to interfere little 

 with them ; but their inflammation must be checked 

 by leeches, &c., and when ulcers exist, stimulant 

 lotions or dressings must be used, to give them a dis- 

 position to heal : but if they are in an irritable state, 

 a cataplasm, made with hemlock, or other narcotic. 

 SCUDERI, GEORGE DE, a French writer, born 

 at Havre, in 1601, was descended from an ancient 

 Proven9al family. He was a member of the 

 academy (1650), and died in 1667. His dramatic 

 works (sixteen plays), sonnets, heroic poems, 

 romances, &c., have been long forgotten. His 

 sister, Madeleine, was born at Havre, in 1607, and 

 went at an early age to Paris, where, though re- 

 markably ugly, she attracted notice by her talents 

 and wit. Her numerous and long-winded romances 

 depict the manners of the French court in the 

 extraordinary taste of the time. She died in 1701. 

 Mademoiselle Scuderi was entitled the Sappho of 

 her time. The most distinguished scholars and 

 wits of Europe were her friends; the academy at 

 Padua chose her a member of their body; the 

 French academy awarded the prize to her Disserta- 

 tion on Glory. Her principal works were Arta- 

 mene, ou Le Grand Cyrus (10 vols. 8vo); CKlie 

 (10 vols.); with 10 volumes of Conversations on 

 different subjects, which are her best productions. 



SCULP.TURE, or the art of repiesenting visible 

 forms in hard masses, by means of the chisc'l, had 

 its origin in the art of modelling (inures in soft 

 substances (see Plastic Art), a.s the aneient idols 

 of all nations were formed. The more difficult art 

 of carving figures in wood and ivory, and still more 

 of cutting them in stone and casting them in metal, 

 were the inventions of a later period. These 

 inventions were also the offspring of religion; at 

 first only objects of religious worship were repre- 

 sented. In the earliest times, men venerated 

 blocks and rough stones, or Baetylia, which wen- 

 said to have fallen from heaven, and which are now 

 called aerolites, or meteoric stones. Blocks of stone 

 were also worshipped as landmarks, and were called 

 termini. From the ninth to the seventh century 

 B. C., the Greeks had much intercourse with the 

 Phoenicians. This commercial nation worshipped 

 the god Theut, Thoth, who had taught them the 

 use of letters. They afterward employed his image 

 as their landmarks, calling it their god, and com- 

 pelled the rude Autochthones to worship it. Such 

 pillars were called hermce: the god of roads and 

 travellers was therefore called, by the Greeks, 

 Hermes. They afterwards put a head upon these 

 pillars, which is the origin of busts. The produc- 

 tions of sculpture are divided into insulated pieces, 

 or such as may be viewed from all sides, whether 

 full figures, or Henna:, busts, heads, masks, vases, 

 pedestals, &c., and works in relief. (See Bass- 

 relief, and Relievo.') The elder sister of sculpture, 

 in insulated forms, is architecture. The first object 

 of sculpture was the ornamenting of temples. 



History of Sculpture. We find very early indi- 

 cations of sculpture in the Bible. Laban, who 

 lived in the twenty-third century B. C.,had images 

 of his domestic gods, which were called, in Hebrew, 

 teraphim. In the very ancient Indian cavern and 

 grotto temples, are found works of sculpture ; for 

 instance, in the pagoda of Elephantis, near Bombay, 

 is a colossal statue of Brama. This deity is repre- 

 sented sitting, his arms crossed, with the face and 

 figure of a man in front, and with a female face and 

 form behind ; upon his right breast is the sun ; upon 

 his left breast the moon and the stars; waters, 

 mountains, animals, and plants are exhibited upon 

 this statue, which the Hindoos believed" God to 

 have presented to his Son, as a model, at the crea- 

 tion of the world. The fancy of the Hindoos was 

 very rich, but inclined towards the symbolic and 

 allegoric, so that they never attained to a pure style 

 of art. Their sculpture is highly expressive, but 

 without a feeling of beauty, and exhibits a mosaic 

 of ideas. (See Plate LXXIX, figs. Hand 15.) The 

 Persians had many works of sculpture, as the ruins 

 of Persepolis prove; but, as they never formed naked 

 figures, they failed to gain a just idea of the human 

 form. (See Plate LXXIX, fig. 16.) In Assyria, the 

 art flourished under queen Semiramis. We find 

 mention of brazen statues of Semiramis, Belus, and 

 Ninus. In Curdistan, very ancient works of sculp- 

 ture are found, which the inhabitants consider as the 

 images of Chosroes and his beloved Shereen, and call 

 the poet and artist Ferhad, the sculptor. The 

 Egyptians were the first who adopted a certain 

 style of art. The works of art produced by this 

 nation were gloomy and grave, but full of deep 

 sentiment, connected, by the hieroglyphics which 

 covered them, with poetry and history, and by the 

 mummies, with the belief of immortality. But as 

 the kingdom of the dead seemed to them the true 

 existence, so their art is more related to death than 



