§3S. GREEK SUBJECTS. 235 



guided their talented authors; but this differs widely from 

 mere imitation, which, after all, only produces an inferior 

 copy, and depends on the eye, without calling forth any efforts 

 of the mind. What, indeed, can be more ridiculous than 

 representing our kings and conquerors in the garb of ancient 

 heroes? It only finds a parallel in the Greek temples re- 

 presented by old masters in scriptural subjects, with the men 

 in mediaeval armour ; or in that absurd custom (unheeded at 

 the time) of dressing our actors, when in the characters of 

 Caesar, and other personages of a Roman play, in European 

 costume ; which we only laugh at now in the " Comic Latin 

 Grammar." We should study their habits for historical paint- 

 ings ; and the insight we have obtained into Oriental manners, 

 costumes, and scenery, as well as architecture, is of the highest 

 importance to modern artists in the representation of scrip- 

 tural subjects, and should by no means be neglected.] 



38. If it is ridiculous for us to allow the imagination to 

 wander among the mythological fables, or the glories, of Greece 

 and Rome, in preference to subjects connected with our own 

 religion, history, and poetry, it is equally so to adopt an old 

 or a conventional mode of representing real objects; and an 

 ancient horse copied for a modern equestrian statue is equally 

 an anomaly with a completely classical costume for the rider. 



Again, in imitating the architecture of an early style, it is a 

 glaring impropriety to adopt what are its imperfections. 

 There is no reason why our statues should be made unnatural, 

 or ill proportioned, because those who erected the original 

 building were incapable of executing good sculpture ; and the 

 mediaeval character of the copy may be as well maintained 

 though grace be given to its sculptured figures. Had the old 

 sculptor been able, he would have done so himself: why then 

 imitate an imperfection ? for at the same period when he was 

 showing his incapacity for high art, some buildings in Italy 

 and in France were receiving sculptures of a higher order ; 



