It cannot be presumed that we should have the temerity to aspire to the task of giving a full and complete description of every variety which constitutes perfection in the art; for this would be to infer professional ability, equal, or perhaps, superior to what any one individual ever was, or, we may venture to say, ever will be, known to possess. Besides this inference, another must be presumed, because perfection in description must also anticipate the most delicate, refined, and, as termed, classically correct taste; neither to these do we assume the possession of such well-known essentials as are positively necessary to its formation. It is, besides, altogether difficult, as the world acknowledges, to fix a standard to the ideal faculty of taste, and which, we hereby take occasion to notice; therefore we hope to avoid the sin of presumption, and trust that our readers will observe that what we do state is upon good authority, if we have not full confidence in our own experience; but our sin, if sin there be, is rather that of omission than of commission--of saying too little, rather than too much. STATUARY. The origin of Statuary, or what we would term its parent--modelling, is of very great antiquity, as we are authoratively informed by the Grecian historians, whose testimony is supported by Monsieur D’Anville and Major Rennel, two of the most eminent geographers of modern times. From them we learn that three massy statues of gold were erected to ornament the temple of Jupiter Belus. Those were erected by the Chaldeans about two thousand two hundred and thirty years before Christ. There is also sufficient evidence, that the most eminent and intellectual people, subsequent to the Chaldeans, were the Egyptians. Every individual, who is in the slightest degree conversant with the history of the arts, knows that the Egyptian artisans had from the earliest periods been in the habit of constructing colossal statues of their numerous deities, and also of their benefactors, raised from gratitude and adulation. To name only a single instance, the immense colossal statue of Memnon, who perished before the fall of Troy, according to Homer: also Ovid, who speaking of his mother Aurora, says, “Nor Troy, nor Hecuba could now bemoan, She weeps a sad misfortune now her own; Her offspring, Memnon, by Achilles slain, She saw extended on the Phrygian plain.”