The finest specimens of antique sculpture are to be seen in the Vatican. In these the Greek artists display an unquestionable superiority over the most successful efforts of the moderns. For me to attempt a description of these master-pieces, which have been described a thousand times, and imitated as often, without once having had justice done them, would be equally vain and superfluous. I confine myself to a very few observations. The most insensible of mankind must be struck with horror at sight of the Laocoon. On one of my visits to the Vatican, I was accompanied by two persons, who had never been there before: one of them is accused of being perfectly callous to every thing which does not immediately touch his own person; the other is a worthy, good man: the first, after staring for some time with marks of terror at the groupe, at length recovered himself; exclaiming with a laugh,—“Egad, I was afraid these d——d serpents would have left the fellows they are devouring, and made a snap at me; but I am happy to recollect they are of marble.”—“I thank you, Sir, most heartily,” said the other, “for putting me in mind of that circumstance; till you mentioned it, I was in agony for those two youths.” Nothing can be conceived more admirably executed than this affecting groupe; in all probability, it never would have entered into my own head that it could have been in any respect improved. But when I first had the happiness of becoming acquainted with Mr. Lock, a period of my life which I shall always recollect with peculiar pleasure, I remember my conversing with him upon this subject; and that Gentleman, after mentioning the execution of this piece, in the highest terms of praise, observed that, had the figure of Laocoon been _alone_, it would have been perfect. As a man suffering the most excruciating bodily pain with becoming fortitude, it admits of no improvement; his proportions, his form, his action, his expression, are exquisite. But when his sons appear, he is no longer an insulated, suffering individual, who, when he has met pain and death with dignity, has done all that could be expected from man; he commences _father_, and a much wider field is opened to the artist. We expect the deepest pathos in the exhibition of the sublimest character that art can offer to the contemplation of the human mind: A father forgetting pain, and instant death, to save his children. This Sublime and Pathetic the artist either did not see, or despaired of attaining. Laocoon’s sufferings are merely corporal; he is deaf to the cries of his agonizing children, who are calling on him for assistance. But had he been throwing a look of anguish upon his sons, had he seemed to have forgotten his own sufferings in theirs, he would have commanded the sympathy of the spectator in a much higher degree. On the whole, Mr. Lock was of opinion, that the execution of this groupe is perfect, but that the conception is not equal to the execution.