Some of these remarks are true and beautiful; but _the great object of the Greeks, in suppressing the convulsions of impassioned expression, was the bestowal of grace_, the highest quality in all representation. It is surprising that this should have been so universally overlooked, that, even among artists, nothing is more common than to hear regrets that the Greeks gave so little expression to their figures! Let the reader now peruse again Dr. Smith's and Mr. Alison's account of grace, and if he is acquainted with the productions of ancient art, he will see that the Greeks suppressed impassioned expression only to bestow the highest degree of grace. Those, therefore, who complain of this, show themselves ignorant of the best object of their art. If the explanation of this great purpose be clearly borne in mind, the remaining observations of Winckelmann will receive a better application than that to which he limited them:-- "Repose and tranquillity may be regarded as the effect of that composed manner which the Grecians studied to show in their actions and gestures. Among them, a hurried gait was regarded as contrary to the idea of decent deportment, and partaking somewhat of expressive boldness.... While on the other hand, slow and regulated motions of the body were proofs among the ancients of a great mind. "The highest idea of tranquillity and composure is found expressed in the representations of the divinities; so that from the father of the gods to the inferior deities, their figures appear free from the influence of any affection. The greatest of the poets thus describes Jupiter as making all Olympus tremble by merely moving his eyebrow or shaking his locks.... All the figures of Jupiter are not however made in the same style. "The Vatican Apollo represents this god quiet and tranquil after the death of the serpent Python which he had slain with a dart, and should also express a certain contempt for a victory so easy to him. The skilful artist, who wished to imbody the most beautiful of the gods, has depicted anger in the nose, which according to the most ancient poets was the seat of it, and contempt in the lips: contempt is expressed by the drawing up of the under lip, and anger by the expansion of the nostrils. "The expression of the passions in the face should accord with the attitude and gestures of the body; and the latter should be suitable to the dignity of the gods in their statues and figures: from this results its propriety. "In representing the figures of heroes, the ancient artist exercised equal care and judgment; and expressed only those human affections which are suitable for a wise man, who represses the violence of his passions, and scarcely allows a spark of the internal flame to be seen, so as to leave to those who are desirous of it, the trouble of finding out what remains concealed.