870 
SCULPTURE. 
boat; a cockboat— [Skiola, a vessel, Icelandic.] Sherwood. 
—One who rows a cockboat. 
Like caitiff vile, that for misdeed 
Rides with his face to rump of steed 
Or rowing scull, he’s fain to love, 
Look one way and another move. Hudibras. 
[Sceole, Sax. An assembly ; a great collection of persons.] 
—A shoal of fish. The word is still applied, on the coast of 
Norfolk and Suffolk, to herrings. 
They fly, or die, like scaled sculls 
Before the belching whale. Shakspeare. 
Each bay 
With fry innumerable swarm, and shoals 
Of fish, that with their fins and shining scales 
Glide under the green wave, in sculls that oft 
Bank the mid sea. Milton. 
SCULL CAMP, a post village of the United States, in 
Surry district. North Carolina. 
SCU'LLCAP, s. A headpiece. A nightcap.—A plant. 
See Scutellaria. 
SCU'LLER, s. [skiola, Icelandic.] A cockboat 5 a 
boat in which there is but one rower. 
Her soul already was consign’d to fate. 
And shiv’ring in the leaky sculler sate. Dry den. 
One that rows a cockboat.—If they called a boat, says a 
waterman, 1 am first sculler; if they stept to the Rose to 
take a bottle, the drawer would cry, Friend, we sell no ale. 
Swift. 
SCU'LLERY, s. [from escuelle, Fr., a dish. From the 
I cel. slcola, Su. Goth, skoelja, to wash. The place where 
common utensils, as kettles or dishes, are cleaned and kept.] 
Pyrcicus was famous for counterfeiting base things, as pitchers, 
a scullery, and setting rogues together by the ears. Peacham. 
SCU'LLION, s. [sculier, old French. This refers to the 
other old word escuelle, a dish.] The lowest domestic ser¬ 
vant, that washes the kettles and the dishes in the kitchen. 
I 
Must, like a whore, unpack my heart with words. 
And fall a-cursing like a very drab, 
A scullion, fye upon’t foh! about my brain. Shakspeare. 
If the gentleman hath lain there, get the cook, the 
stablemen, and the scullion, to stand in his way. Swift. 
SCU'LLIONLY, adj. Low; base; worthless. A bad 
word. —This fellow brought forth his scullionly paraphrase 
on St. Paul, Milton. 
SCULLTOWN, or Oldman’s Creek, a village of the 
United States, in Salem county, New Jersey; 10 miles north¬ 
east of Salem. 
To SCULP, v. a. [sculpo, Latin; sculper, Fr.] To 
carve; to engrave. A word not in use, but elegant. 
O, that the tenor of my just complaint 
Were sculpt with steel on rocks of adamant! Sandy s. 
SCULPONEiE, among the Romans, a kind of shoes 
worn by slaves of both sexes. These shoes were only blocks 
of wood made hollow, like the French sabots. 
SCU'LPTILE, adj. [sculptilis, Latin.] Made by 
carving.—In a silver medal is upon one side Moses horned, 
and on the reverse the commandment against sculpti/e im¬ 
ages. Brown.- —All carved images they abhor, and ana¬ 
thematize the adorers of sculptile representations. Ricaut. 
SCU'LPTOR, s. [sculptor, Latin; sculpteur, Fr.] A 
carver; one who cuts wood or stone into images. 
Thy shape’s in every part 
So clean, as might instruct the sculptor's art. Dry den. 
The Latin poets give the epithets of trifidum and trisul- 
cum to the thunderbolt, from the sculptors and painters that 
lived before them, that had given it three forks. Addison. 
SCULPTURE, [from sculpture, Lat., which is derived 
from the Greek y\v<pu.~\ The art of cutting natural or ideal 
forms in solid substance. 
Then sculpture and her sister arts revive, 
Stones leap’d to form, and rocks began to live. Pope. 
Ornamental carving. 
Nor did there want 
Cornice or freeze with bossy sculptures graven. Milton. 
Sculpture has been used to denote also the art of engraving, 
but is at present confined to the first meaning. 
Sculpture is so far identified with the higher branch of 
painting that each requires the same exalted imagination, the 
same general historical knowledge, the same intuitive percep¬ 
tion of character, and the same fervent admiration of beauty 
and sublimity. But reduced to simpler elements, deprived 
of all those magical delusions of colour and pleasing variety 
of collateral subjects that painting renders available, sculpture 
rests upon simpler and severer excellences. Incapable of 
imitating the glow of the complexion, the gorgeous robe or 
sparkling jewels, and debarred alike from the relief af¬ 
forded to its principal figures by the tints of the earth or 
the hues of the sky, this art is confined rigorously to the 
mere imitation of form. Hence its greater difficulty. 
Without great anatomical correctness in the figures, the most 
perfect fidelity in the expression, and the highest beauty and 
dignity in the whole, a marble group is absolutely worthless; 
while a painting, on the other hand,may engage our admira¬ 
tion by various other qualifications. The faithful imitation of 
flesh and the skilful disposition of light and shade have raised 
to the highest estimation many pictures of which the figures 
were not only common but absolutely disgusting. But from 
this imitation of nature, the accuracy of which atones for 
other defects, sculpture is utterly cutoff; and having a materia! 
so opposed in texture to the subjects it represents as marble, 
can only succeed by rivet ting the mind of the spectator on 
the form alone, to the exclusion of every other beauty. 
The attributes of sculpture are therefore simplicity and 
grandeur; those who have attempted to render it a close imi¬ 
tation of mere natural objects have failed. But for ideal 
representations it seems pre-eminently adapted. In these, the 
very defects of its material are transformed to beauties; for 
the spectator’s imagination being unconfined by any system 
of colour or peculiarity of complexion to grosser ideas, as it 
were, takes wing, and of itself forms those ethereal conceptions 
which it is the province of the highest art rather to excite than 
to give. There seems to us somewhat of celestial and spi¬ 
ritual beauty in the proportions of the carved marble that 
we look for in vain in the finest pictures. Nevertheless the 
power of sculpture is confined; its subjects few, and its 
labour great. It possesses some slight superiority over paint¬ 
ing in the longer duration of its offspring, but this scarcely can 
compensate for its greater toil. It is also a more full and per¬ 
fect representation of the human figure than can be produced 
by other means, and each separate object presents superior 
variety, since it may be contemplated from many points of 
view. It appeals however little to the uncultivated feelings 
of human nature; and hence a statue is never so general an 
object of attraction as a painting. 
The carving of domestic implements, which necessity im- 
oses on the most savage tribes, leads so naturally and insensi- 
ly to rude sculptures of the human form, that we should 
scarcely expect to find any race of men without some produc¬ 
tions of the kind. Lookinginto antiquity, we conclude from 
various passages in scripture, concerning images in the temples, 
that sculpture was not unknown to the Hebrews. Of the merits 
of this nation, however, as well as of the Persians, Babyloni¬ 
ans, &c., nothing is known; but they would seem not to have 
been very high, since the quantity of gold or other precious ma¬ 
terial consumed, forms the chief subject of panegyric in those 
remarks which antiquity has presented to us. (See Herodo¬ 
tus’ account of the Temple of Jupiter Belus.) If any ex¬ 
ception to this opinion is to be found, it is in the representa¬ 
tions of wild beasts and hunters attacking them. (See Dio¬ 
dorus Siculus’ Description of the Works of Semiramis in 
Babylon, and also the ruins of Persepolis.) 
Egypt, the source to which the Greeks attributed all the 
sciences, is also famed as the cradle of the art of sculpture. 
Yet 
