Phidias was the first in this reformation. Minerva, under his hand, became young and beautiful, who had before been harsh and elderly; and Jupiter was awful, as when his nod shook the poles, but benignant, as when he smiled on his daughter Venus. Apollo and Bacchus then assumed youthful resemblances of their sire; the first more majestic, the latter more feminine; whilst Mercury, as patron of gymnastic exercises, was represented as more robust than his brother. Hercules became gradually more powerful; and the forms of inferior heroes displayed a nearer resemblance to common nature; from which, both sentiment and beauty can alone be given to imitative art. The near approach of ancient art to nature, considering their high advance to accuracy of imitation, should likewise encourage the modern to imitate the ancient artists. The moderns now also enjoy superior auxiliary assistance from engraving, printed books, &c., which the ancients did not possess. MECHANISM OF THE HUMAN FRAME.--The human figure with the limbs extended, may be inclined and bounded by the circle and square; the centre of gravity, its change of situation, is susceptible of description, and may be exemplified in rest and motion;--running, striving, leaping, walking, rising, and falling. Those principles of motion may be exhibited in a skeleton, by the bending of the backbone backwards and forwards, whilst the limbs uniformly describe sections of circles in their motions, constantly moving on their axis. DIMENSIONS OF THE HUMAN FIGURE, as exhibited in Grecian Statuary.--The height, eight heads (or usually ten faces); two heads across the shoulders; one head and a half across the hips; three noses, the thickest part of the thigh; two, to the calf of the leg; one, the narrowest part of the shin, &c. The above is the general proportion of the male figure. The female figure is narrower across the shoulders, and wider across the hips than the male. The _beauty_ of the human figure is found in its proportion, symmetry, and expression; it really appears that the beauty of the human figure is the chief or ultimate of beauty observed in the visible works of creative Omnipotence. From thence every other species of beauty graduates in just _ratios_ of proportion. From considering the intellectual faculties of man, we assimilate the idea, and connect beauty with utility, as this union of his physical and mental powers unquestionably renders him one of the most beautiful objects in the creation. This consideration leads us involuntarily to a train of thought, suggested by a principle laid down by Plato, “That nothing is beautiful which is not truly good;” which also induces the following corollary, and which is confirmed by reason, and sanctioned by revelation, that _perfection of human beauty consists of the most virtuous soul in the most healthy and perfect body_.