ever is most beautiful in nature or in art; and if their unqualified deference to the Greek be not admitted, I wonder from whom, with a more refined and better furnished mind, we may expect a juster sentence ! i

The artists of later days ascend no higher in the pursuit of the beautiful than the mo dels 'which Greece has transmitted to us. Have any of them retraced the steps of the Greek artist in the formation of one cele brated statue? Have they selected from individuals of approved form, whatever is most beautiful in each, and thus composed à more perfect whole? Until this be done, it is mere presumption to suppose that they will surpass the Greek, that with all the aid of the antients they will produce a more perfect model of beauty, that this second extract of the beautiful would more answer to our most perfect idea from nature.

There is reason to believe that the Grecian artists did select the most beautiful originals, and, from what appeared to be most perfect in each, formed their mean

figure of the beautiful. It was, inasmuch as art could execute, the summary of what nature had dispersed in a variety of the best chosen subjects mood basi

It is further to be observed, and, if true, very important to the purpose, that no climate, no state of society, no modes of life. and manners, were ever more happily adapté ed to the preservation of beauty) to the production of the most beautiful and most perfect designs of nature. A happy teme perament of elements, inviting to enjoyment, and also to exercise, activity and sportiveness, simplicity of diet and simplicity of manners, were eminently favourable to the primary production and to the preservation of beautiful form. The concurrence of these advantages is so powerful as to resist the barbarism and oppression of the Turkish government, and even to this day preserve to the native Greek race their preeminence of beauty. ob 19..

J The Grecian games invited the most per fect of the species, in varied character and

exhibition,

exhibition, with all the advantage of expol sure, and with all the action proper either to strength or grace; which must have fuf nished to the Grecian artist models of per per fection in nature, and of the truth of nature in her best specimens, such as modern artists can have no access to. Our modern manners admit not of such exhibitions; and if in a moral view we have gained thereby, the loss to the imitative arts of sculpture and painting is incalculable. Nor, if it were otherwise, is it probable that, in our élimates and with our modes of life, any such spè i specii mens of the beautiful working of nature can be furnished. It will be allowed at least that the hirelings, which are exhibited in our modern académies, are no substitute for the ampler and richer display of form and character, from which the Grecian sculptor and painter copied their admired productions!

The freedom of the Grecian mind must also have had a considerable influence on the feature and form. The influence of the mind on the feature, where the soul speaks in all

its energies and character and dominant affections, is acknowledged by all; but it is not equally considered to what degree the mind, cherished from infancy in all that generous freedom, which is the gift of its au thor, may determine the form, and rear it up in the grace and elegance and beauty which answer to the best intention of nature. The easy flowing dress of the Greeks corresponded with this freedom of mind; whatever nature designed, she freely operated ; no restraint forced her into awkward, ill-proportioned and ungraceful deviations ; and what freedom of mind, ease of dress, salubrity of climate, and simplicity of diet and manners left unfinished, their gymnastic exercises completed. In modern Europe, every thing almost is adverse to the produc tion and preservation of beautiful form; mind is not so pure and unadulterated; modes of life are not so equal, nor so conformed to simple elegance; the form of the great mass of the community is as much injured by excess of labour, depression of

mind,

mind, and exposure to unequal climate, with scantiness of food, or irregular supplies of it, and not of a simple and salubrious kind, as the form of the higher ranks is impaired by excess of food, equally insalubrious; exclusion from air and exercise ; manners that awake no mental energies, invite to no pleasant, healthful, sportiveness; intemperance in the hours of rest; and, what alone is sufficient to every depredation of form and beauty, confinement in the poisoned vapour of crowded and heated rooms. The inference is obvious. The modern European cannot rival the artist of antient Greece. He has not the same originals. Nature presented herself unviolated to the Greek; injured and perverted, she can exhibit to the European only her weaker productions.

To these considerations may be added, what I have already alluded to, that the Greek artists were men of the first form, well educated, and of high consideration. Superior instruction, and admission to the highest honours, elevate the mind, excite grander D. 3 conceptions,