SCULPTURE. 



I<g ; but when collcfted by the girdle, did net reach lower 

 than the knees. This feems to have been made in general of 

 the fame material with the chlsna. The chlamys is a mi- 

 litary and hunting cloak, faftened with a button on the right 

 flioulder, as that worn by the Apollo Belvidere. 



Female Drapery. — The kitor, or tunic, was worn by the 

 Greek women in very early times, but was generally made to 

 pafs over each (houlder, excepting Amazons, or female war- 

 riors, Avho lometimes had the right flioulder left bare ; but 

 the female kiton, or tunic, reached to the feet, and was lower 

 than the ankles, even when girded by the zone. This was 

 made of a finer material than that worn by men : it is called 

 bombyx, and appears to have been produced from a thread 

 ti'oven by wafps, or infefts of that kind, and to have formed 

 a delicate and fine texture, capable of producing, long and 

 variegated fold?, without lefiening the diltin6t appearance of 

 the figure underneath. 



The pephis, or long veil, is defcribed as a dignified gar- 

 ment by Homer ; it was worn nearly in the lame manner by 

 women as by men, and is a charafleriltic of dignity, as Juno, 

 Minerva, Vefta, and Ceres are feldom or never feen v/ithout it 

 in a placid Hate. 



Befides the kiton, the dignified female Greeks had another 

 garment, which anfwered the fame purpofe, called the peplo- 

 kiton, which appears to have been one piece of cloth doubled 

 over at the top, folded round the left fide, the left arm 

 having palled through the top ; open on the right fide, 

 which prefented two cafcades of folds : thefe are continu- 

 ally feen on the Greek vafes. 



Many other garments were worn by women, which fre- 

 quently occur in ilatues, baffo relievos, and painted vafes, 

 which anfwer to our (hifts, petticoats, handkerchiefs, and 

 boddices, and are eafily dillinguirtitd in the works of ancient 

 painting and ftulpture ; but as a more intimate acquaintance 

 with thofe concerns the antiquary rather than the artift, we . 

 fhall refer thofe who are curious on the fubjeft to lexicons and 

 fcholialls for further information. 



The Iloman toga appears to have been originally 

 Italian, and was fo entirely appropriated to the Romans, 

 that they are thence called gens togata. ColleiSled in its 

 folds, it appears to have been of an oval figure, through 

 the opening of which the head, the right arm, and half the 

 body on the right fide palled, the garment relling on the 

 left llioulder, being fupported by the left hand, falling be- 

 low the middle of the right leg, and prefcnting almolt in- 

 numerable continued curvilinear folds, which encircle the 

 figure before and behind from the left flioulder downwards. 

 A lap of this garment was brought from behind over the left 

 flioulder, tucked into the upper part in front under the 

 right bread, which fold was called the cinftus Gabinus, and 

 was laid to-be a fafliion brought from the city of Gabia. It 

 was worn by emperors, confuls, noblemen, and Roman citi- 

 zens : in general it was made of a fine woollen cloth, as moll 

 of the Roman garments were. 



In reflefting on the beauty of drapery, we mull always 

 refer to the beauty of th'.' human figure which it covers ; 

 and as garments are worn for a defence againit the weather, 

 or from motives of modeily, they fliould never be fucli an in- 

 cumbrance as to impede aflionor overload the figure, either 

 by their quantity or mode of wearing ; which rule being ob- 

 ferved, the general idea of form and adlion will always be 

 intelligible underneath ; and thus, however the figure may be 

 covered, the plainer parts of the garment will give a breadth 

 .of light and fliadow to the mafs, and its folds a beautiful 

 variety of form, either in harmony with, or in oppofition to, 

 the forms of the limbs and body. 



The cafcade, or zigzag fold of a long full garment hang- 

 VoL. XXXII. 



ing from the flioulder towards the feet, by the irregular 

 geometrical effefts of its light and fliadow, ftiades the undu- 

 lation of living forms on the oppofite fide of the figure, whe- 

 ther covered with drapery or not, with an advantageous 

 variety. 



The fine and web-like draperies, fuch as that of the Flora 

 Farnefe, fliew all the forms of the body and limbs with 

 nearly the fame dillinftnefs as if they had remained uncovered, 

 at the fame time that the gentle radiated curvilinear folds, 

 upon a near examination, contrail the beautiful forms of 

 the body by a. variation of lines tenderly affimilated with the 

 flefli, in fuch a manner as induces the fpedtator to believe 

 that the lealt motion of the body will produce a different, 

 and equally pleafing new arrangement in the folds of the 

 drapery. 



What has been faid concerning drapery comprehends the 

 principles of the lubjeft ; for it was the intention on the fine 

 ftatues of antiquity to produce a noble breadth by their 

 draperies, confillent with the dignity of their mod illuftrious 

 charafters. In their more delicate charafters they con« 

 traded the beautiful form beneath by the graceful difplay 

 of lines in the drapery ; and in all their clothed ftatues, thcv 

 adorned the forms of the naked figure by perpendicular, cur. 

 vilinear, pendant, or zigzag folds, contraftnig the foma 

 and adding quantity, but leaving the figure and its pofition 

 perfectly intelligible. 



In the figure of Bacchants in violent aftion, the flying 

 drapery becomes peculiarly ornamental ; verging from the 

 figure in undulating rays, which at its edges and extremities . 

 play upon the air in bolder forms, like the extremities of the 

 poppy-leaf. 



The PraSice of Sculpture. — The firft operation of fculp- 

 ture, like that of painting, is defign. The fculptor firll 

 makes his idea evident by a flcetch or drawing ; he then 

 makes a fniall model, generally in clay, to try the effeCl or 

 his lines, forms, and light and fliadow, as well as the lenti- 

 ment of his ftatue, or compofition : but if the work requires 

 the utmoll accuracy and perfedlion he is able to give, he 

 makes a model of the fize in which the wood, marble, or 

 bronze is to be executed. 



He models his figure firft naked in its juft aflion, and 

 accurate in its forms ; he then lays on his drapery, cither 

 from ftudies made after the living figure, or drapery laid 

 for the purpofe on a lay figure, or maniiikin. 



The clay model, if large, muft be fupported by a frame. 

 work of iron ; and the mafles of clay may be kept together 

 by a number of fmall wooden croffes attached to the iron 

 frame-work, by wires of different lengths dilperfed in diflercnt 

 parts of the clay. This method is ufed by Mr. Caiiova, the 

 celebrated Venetian fculptor. 



The tools ufed by the modeller are made of wood, or 

 ivory, with ends pointed, rounded, fquare, or diagon.il, with 

 which he forms his models ; marks out the hollows and dark 

 parts ; and does whatever he finds impraflic.able to perform 

 with his fingers only. 



When the clay model is finilhed it mull be moulded and cad 

 in plaller; which caft mull .alfo be well fupported and fecured 

 by bars of iron well cemented, to prevent the ruft of the 

 metal from penetrating through the caft. 



To copy the model in marble is performed in the fol- 

 lowing manner. A number of little black points muft be 

 marked upon tlic model, in every principal projeftion and 

 hollow, to give the diftances, heights, and breadths, fnffi- 

 cient to copy the marble with the gre.itcft exadtnefs from the 

 model. The ancients performed this, by confideriiig every 

 three points on the figure as a triangle, which they made in 

 the marble, to correfpoud with the fame three points in tlie 

 f^ model, 



