60. Remember that we have before our eyes, as subjects of perpetual study and thought, the art of all the world for three thousand years past; especially, we have the best sculpture of Greece, for example of bodily perfection; the best of Rome, for example of character in portraiture; the best of Florence, for example of romantic passion; we have unlimited access to books and other sources of instruction; we have the most perfect scientific illustrations of anatomy, both human and comparative; and we have bribes for the reward of success, large in the proportion of at least twenty to one, as compared with those offered to the artists of any other period. And with all these advantages, and the stimulus also of fame carried instantly by the press to the remotest corners of Europe, the best efforts we can make, on the grandest of occasions, result in work which it is impossible in any one particular to praise. Now consider for yourselves what an intensity of the negation of the faculty of sculpture this implies in the national mind! What measure can be assigned to the gulf of incapacity, which can deliberately swallow up in the gorge of it the teaching and example of three thousand years, and produce, as the result of that instruction, what it is courteous to call 'nothing'? 61. That is the conclusion at which we arrive on the evidence presented by our historical sculpture. To complete the measure of ourselves, we must endeavor to estimate the rank of the two opposite schools of sculpture employed by us in the nominal service of religion, and in the actual service of vice. I am aware of no statue of Christ, nor of any apostle of Christ, nor of any scene related in the New Testament, produced by us within the last three hundred years, which has possessed even superficial merit enough to attract public attention. Whereas the steadily immoral effect of the formative art which we learn, more or less apishly, from the French schools, and employ, but too gladly, in manufacturing articles for the amusement of the luxurious classes, must be ranked as one of the chief instruments used by joyful fiends and angry fates for the ruin of our civilization. If, after I have set before you the nature and principles of true sculpture, in Athens, Pisa, and Florence, you consider these facts,--(which you will then at once recognize as such),--you will find that they absolutely justify my assertion that the state of sculpture in modern England, as compared with that of the great Ancients, is literally one of corrupt and dishonorable death, as opposed to bright and fameful life. 62. And now, will you bear with me while I tell you finally why this is so?