The Ancients, with great judgement, represented only the elevation of whatever architecture they introduced into their basreliefs, which is composed of little more than horizontal or perpendicular lines; whereas the interruption of crossed lines or whatever causes a multiplicity of subordinate parts, destroys that regularity and firmness of effect on which grandeur of style so much depends. We come now to the last consideration in what manner Statues are to be dressed, which are made in honour of men, either now living, or lately departed. This is a question which might employ a long discourse of itself: I shall at present only observe, that he who wishes not to obstruct the Artist, and prevent his exhibiting his abilities to their greatest advantage, will certainly not desire a modern dress. The desire of transmitting to posterity the shape of modern dress must be acknowledged to be purchased at a prodigious price, even the price of every thing that is valuable in art. Working in stone is a very serious business; and it seems to be scarce worth while to employ such durable materials in conveying to posterity a fashion of which the longest existence scarce exceeds a year. However agreeable it may be to the Antiquary's principles of equity and gratitude, that as he has received great pleasure from the contemplation of the fashions of dress of former ages, he wishes to give the same satisfaction to future Antiquaries: yet, methinks pictures of an inferior style, or prints, may be considered as quite sufficient, without prostituting this great art to such mean purposes. In this town may be seen an Equestrian Statue in a modern dress, which may be sufficient to deter future artists from any such attempt: even supposing no other objection, the familiarity of the modern dress by no means agrees with the dignity and gravity of Sculpture. Sculpture is formal, regular, and austere ; disdains all familiar objects, as incompatible with its dignity; and is an enemy to every species of affectation, or appearance of academical art. All contrast, therefore, of one figure to another, or of the limbs of a single figure, or even in the folds of the drapery, must be sparingly employed. In short, whatever partakes of fancy or caprice, or goes under the denomination of Picturesque, (however to be admired in its proper place,) is incompatible with that sobriety and gravity which is peculiarly the characteristick of this art. There is no circumstance which more distinguishes a well-regulated and sound taste, than a settled uniformity of design, where all the parts are compact, and fitted to each other, every thing being of a piece. This principle extends itself to all habits of life, as well as to all works of art. Upon this general ground therefore we may safely |