RESTORATION OF THE ART 0F SCULPTURE. $>]l 



wanted to carry the art to the utmoft length, like 

 Cimabue and Giotto, they expreffed the divifions of 

 the members by fomewhat fofter itrokes and more pro- 

 per colours. They never dreamt that their art was 

 capable of fo high a perfection as that to which it was 

 brought in the fucceeding times by Leonardo da Vinci, 

 by Raphael d'Urbino, by Titian and Correggio. As 

 they had, for many centuries, no other model than the 

 mofaic and other ffiff paintings of the Greeks, it was 

 morally impoffible for them but to conceive in their 

 minds a perfect work. Not only the art itielf, but the 

 very idea of it was loft. There was no method left for 

 reftoring it in all its parts, but that of proper and per- 

 fonal invention. If we confider the difficulties that 

 were to be f uncounted, and tow many effential parts 

 were to be invented, belide the defign, before paint- 

 ing could attain to perfection, all aftonifhment ceafes 

 at its being later in reaching the perfection of Sculp- 

 ture, which lay obvious in fo many antiques. 



THE YOUNG PERSIAN, 



By Mr. Meissner. 



Cyrus, Art axes, CourtIer$« 

 Cyrus. 



SHAME upon thee, prince ! — Who would wafte 

 more than an hour in lamenting fuch a trifling lofs ! — 

 There will be more races another time. To-day thou 



wert 



