SCULPTURE. 449 



circle, divided into degrees, with a moveable rale fastened in the 

 centre of the circle, and likewise divided into parts. From the 

 extremity of the rule hangs a line with a lead, which directs him in 

 taking all the points, which are to be transferred from the model 

 to the marble ; and from the top of (he marble is hung also a line, 

 tallying with that which is hung from the model } by the corre. 

 spondence of which two lines, the points are ascertained in the 

 marble . 



Many eminent sculptors prefer measurements taken br the com- 

 passes to the method just described ; for this reason, that if the 

 model is moved but ever so little from its level, the points are no 

 longer the same. 



This method, however, offers the best means, by which mecha- 

 nical precision may be attained j but it is manifest, that enough yet 

 remains to exercise and display the genius and skill of the artist. 

 For, first, as it is impossible, by the means of a straight line, to 

 determine with precision the procedure of a curve, the artist de- 

 rives from this method no certain rule to guide him, as often as the 

 line which he is to describe deviates from the direction of the plumb, 

 line. It is also evident, that this method affords no certain rule to 

 determine exactly the proportion, which the various parts of the 

 figure ought to bear to each other considered in their mutual rela- 

 tion and connections. This defect, indeed, may be partly supplied 

 by intersecting the plumb-lines by horizontal ones ; bnt even this 

 resource has its inconveniences ; since the squares formed by trans- 

 versal lines that are at a distance from the figure (though they are 

 exactly equal), yet represent the parts of the figure as greater or 

 smaller, according as they are more or less removed from our point 

 of view. 



Of sculpture in -csood. A sculptor in wood should first take 

 care to choose wood of the best quality, and the most proper for 

 the work which he intends to execute. If he undertakes a large 

 work, requiring strength and solidity, he ought to choose the 

 hardest wood, and that which keeps best, as oak and chesnut ; bat 

 for works of moderate size, pear or apple-tree serve very well. As 

 even these latter wooils are still of considerable hardness, if the 

 work i-0'isi-.ts only of delicate ornaments, the artist will find it 

 preferable to take some more tender wood, provided it is at the 

 same time firm and ciose ; as, for instance, th Indian tree, which 



rot. vx. ?a 



