is only good or tolerable as it partakes of general nature; and he might accuse Michael Angelo and Raphael, the one for his grandeur of style, the other for his expression; for neither are what he sets up as the goal of perfection.—I will just stop to remark here that Sir Joshua has committed himself very strangely in speaking of the character and expression to be found in the Greek statues. He says in one place:
“I cannot quit the Apollo without making one observation on the character of this figure. He is supposed to have just discharged his arrow at the Python; and by the head retreating a little towards the right shoulder, he appears attentive to its effect. What I would remark is the difference of this attention from that of the Discobolus, who is engaged in the same purpose, watching the effect of his Discus. The graceful, negligent, though animated air of the one, and the vulgar eagerness of the other, furnish an instance of the judgment of the ancient Sculptors in their nice discrimination of character. They are both equally true to nature, and equally admirable.”—Vol. II. p. 21.
After a few observations on the limited means of the art of sculpture, and the inatten-
