STA 
STA 
only the real or effective wealth of the 
country, upon which all other species of 
wealth, whether consisting in government 
or private securities, or of any other de- 
scription, ultimately depend; for private 
or public loans in which mode a great part 
of the property of many persons is invested, 
are obligations on the part of the borrowers 
to repay, at a future time, a certain sura in 
money, which is the measure and represen- 
tative of all other species of real property^ 
or to pay an income arising from this sum 
till the capital is repaid. The borrower is 
no otherwise richer than by the greater- in- 
come he can make of the money borrowed, 
than what he agrees to pay for it, as the 
capital whether he invests it in land, mer- 
chandize, or any other way, remains the 
property of the lender, who though he may 
not by the laws of the country be permit- 
ted to take possession of the property into 
which his money has been converted, may, 
if necessary, bring it to sale for the purpose 
of reconverting it into the equivalent sum 
which he had lent. If, therefore, the whole 
national stock was in the hands of one half 
of the inhabitants, who had borrowed the 
sum of 1272,200,0001. of the other half, it 
is evident that it would be the real property 
not of those in possession, but of those to 
wliom they were indebted, and this is 
actually the case with respect t* a consider- 
libie part of the property of this country ; 
the debts of government having contributed 
materially to produce this eflFect. 
STATUARY, a branch of sculpture, 
employed in the making of statues. See 
Sculpture. 
Statuary is one of those arts wherein the 
ancients surpassed the moderns; and indeed 
it was much more popular, and. more culti- 
vated among the former than the latter. 
It is disputed between statuary and paint- 
ing which of the two is the most difficult 
and the most artful. Statuary is also used 
for the artificer who makes statues. Phidias 
was the greatest statuary among the an- 
cients, and Michael Angelo among the mo- 
derns. 
STATUES, are figures representmg liv- 
ing or deceased creatures, of whatever spe- 
cies, real or imaginary ; and carved, cast, 
modelled, or moulded, in full relievo, in- 
sulated on every part. Statues are formed 
with the chisel, of several materials, such 
as marble, stone, &c. : they are carved in 
wood ; or cast in plaster of Paris, or other 
matter of the same nature; they are also 
cast in several metals, as lead, brass, silver, 
and gold. 
Statues are divided into colossal, or con- 
siderably exceeding the dimensions of na- 
ture ; as, for instance, the celebrated statue 
of Apollo at Rhodes. Allegorical, or such 
as, under human or other symbolical forms, 
represent subjects of a different kind, as 
Time, Ocean, Winds ; or qualities of an in- 
tellectual nature, as Mercy, Justice, &c. &c. 
Statues of deities, demi-gods, and heroes 
were, among the ancients, generally repre- 
sented somewhat larger than life. Monu- 
mental, either representing the person, the 
virtues, or the actions of the deceased. 
Equestrian, generally of some illustrious per- 
son on horseback. Pedestrian, or on foot. 
The most celebrated statues are those of 
the Egyptians, Grecians, and Romans. 
Statues, antique. The denomination of 
antique statues is applicable to all ancient 
statues, found either in India, Egypt, &c. 
but is especially given, in preference, to 
the statues wrought by the ancient Greek 
and Roman sculptors. The works of the 
Grecians are considered as the most perfect 
examples of sculpture. Their statues are 
eminently admirable for the various beauty 
of their forms, for characteristic expression 
and grace. The Grecian statues of men 
are generally naked. The Roman are 
clothed agreeably to the manner of the 
country, and are distinguished into pallu- 
datae (statuae), those of emperors with long 
robes over their armour; loricataa, those 
of soldiers with cuirasses; thoracatae, those 
with coats of armour ; togatae, those of ' 
magistrates with the toga, or robe worn in 
office ; trabeatae, those of senators and au- 
gurs ; tunicatae, those clothed with a plain 
tunic ; stolataa, those of women with long 
trains. 
The antique statues are most particularly 
remarkable for their systematic representa- 
tion of the human form. As the principle 
most apparent in their system is that of pro- 
portions, we shall give, first, an account of 
their general proportions to which they i 
chiefly adhered, and next, an accurate mea- 
surement of the various parts of the body, 
taken at Rome, from some of their most 
celebrated original statues. 
“ Proportions of the antique Statues.” 
Proportion is the basis of beauty, and there 
can be no beauty without it ; on the con- 
trary, proportion may exist where there is 
little beauty. Experience teaches us, that’ 
knowledge is distinct from taste; and pro- 
