446 SCULPTURE. 



surpassed by modern sculptors, us in the forms of infants by Fla- 

 mingo. 



The- method of execution in the Greek stitues and other works 

 of sculpture, seems to have been extremely different from that 

 which is generally in use among modern artists. In the ancient 

 statues, we frequently find striking proofs of the freedom and 

 boldness that accompanied each stroke of the chisel, and which re. 

 suited from the artist's beim; perfectly sure of the accuracy of the 

 method which he pursued. Even in the most minute parts of the 

 figure, no indication of timorousriess or diffidence appears: nothing 

 that can induce us to believe, that the artist feared he might hare 

 occasion to correct his strokes. It is difficult to find, even in the 

 second-rate productions of the Grecian artists, any marks of a false 

 or a random touch. This firmness and precision of the Grecian 

 chisel were certainly derived from a more determined and perfect 

 set of rules, than those of which we are masters. 



Besides studying, therefore, in the productions of the Grecian 

 masters, their choice and expression of select nature, whether 

 beautiful, sublime, or graceful, together with that sedate grandeur 

 and simplicity which pervade all their works, the artist will do well 

 to investigate the manual and mechanical part of their operations, 

 as they may lead to the perception of their mode of progress. 



As soon as the artist has rendered himst If familiarly acquainted 

 with the beauties of the Grecian statues, and formed his taste on 

 the admirable models they exhibit, he may then proceed with ad* 

 vantage and assurance to the imitation of nature. The ideas he 

 has already formed of the perfection of nature, by observing her 

 dispersed beauties combined and collected in the composition of 

 the ancient artists, will enable him to acquire with facility, and to 

 employ with advantage, the detached and partial ideas of beauty 

 which will be exhibited to his view in a survey of nature, in her 

 actual state. When he discovers these partial beauties, he will be 

 capable of combining them with those perfect forms of beauty, with 

 which he is already acquainted. In a word, by having always pre. 

 sent to his mind the noble models already mentioned, he will form 

 an accurate judgment of the powers of his art, and will draw rules 

 from his own mind. 



There are, however, two ways of imitating nature. In the one, 

 a single object occupies the artist, who endeavours to represent it 

 with precision and truth ; in the other, certain Hues and features 



