The works of Roublliac, with all their defects, have merits which redeem them from this general and deserved condemnation (Itourttiae, In Btoo Div.]: but, with the qualified exception in his favour, the productions of the artists who practised with him, and after lila death, can only he clamed in the lowest grade of art ; it is impossible to Imagine anything more false and poor than the style that prevailed.
Early in the present century, the first step was taken towards form ing in England a national collection of ancient works of art. The Toe nley Marbles were purchased by a grant of parliament, and placed in the British Museum in the veer ISO. Since thla period the collec tion has been enriched by the addition of the Athenian (or Elgin) Marbles. the Phiptlian Marbles, the Lycian and Xanthian Marbles, the rilievi discovered by lAyard and his succeesiore, at Nineveh, and the toulpture still more recently found on the site of the mausoleum at Ilalicarnapaus, together with various fine bronzes, and other valuable specimens of ancient sculpture.
The honour of giving a new direction to taste, or rather, of leading it back to a recognition of true principles, is eminently due to Flaxinan and Canova. " To Canova Italy owes her emancipation from those false perceptions which had, from the influence of the Bernini school, so long diverted the current of pure taste To Flaxman the art owes equal obligation. Banks had corrected the grosser impurities, and had stemmed the torrent of bad taste." " No modern sculptor has entered so deeply Into the recesses of ancient art as Flaxman ; his style was founded upon their principles, combined with the aimplieity of the Pirelli and others of the I4th century." Ths above short extracts from the address of Sir R. Westmacott, who succeeded Flax man as professor of sculpture in the Royal Academy, place the merits of these two distinguished artists—the restorers of sculpture—in their true light. In the Theseus of Canova, one of his best and earliest works, we recognise the long.lost purity of form and a decided devotion to the simplicity of the antique. In the designs of Flaxman simplicity, grace, and expression resume their influence, in place of the affectation and display of fanciful ingenuity that had so long prevailed. The later works of Canova show a tendency in that great artist to a more minute execution and attention to small parts than is quite consistent with the heat taste in sculpture; and it may be objected to Flaxman, that, in his admiration of the beautiful and impressive in design, he too often neglecter) the means of making his works effective in execu tion ; but it Is not expedient to enter here into a critical examination of their respective merits and defects. Their works, the best evidence
of the superiority of these distinguished sculptors, are before the world, and a comparison of their productions with those of the entire series of artists from the time of :Michel Angelo (and the best of his immediate followers) down to our own age, will at once exhibit their merit in its true point of view—in the influence they have had in restoring a degraded and fallen art to its proper position.
Mechanical Process of Sculpture.—The technical or mechanical pro ceases of sculpture are for the most part extremely simple. The sculptor, having conceived or invented his subject, usually begins by making a slight sketch of it, either drawing it on paper, or at once modelling it, In small, in clay or wax. This preliminary step enables him to judge of the arrangement, and to correct and improve the general composition of his figure or group. He next proceeds to build up his statue of the desired size. The first thing necessary is to con struct a sort of Nucleus, or skeleton, by which the clay may be sup ported. This Is made of wood or iron, according to the strength required, and the limbs are usually made movable, by attaching the skeleton parts to the main support, or trunk, by wire joints. The figure is then built up in clay; and whether it is ultimately to be draped or not, it should always be modelled naked, in order that the true forma may be easily distinguished, and the drapery made to fall naturally. In modelling in relief, a plane, or ground as it is called, is prepared, upon which the sculptor carefully draws his design. The clay is then laid and pressed upon this, the outline of the figures being bounled by the lines of the drawing. The projection or fulness of the forma must of course depend upon the fancy of the artist, or the purpose or situation for which the work may be intended. The samo rule with respect to modelling the figures naked should be observed here as in figures or groups In the " round." To preserve the models from shrinking and cracking, it is necessary to sprinkle the clay occa sionally with water ; and on leaving them, to cover them over with damp cloths.