purpose--the one watching the effect of his arrow, the other of his discus. "The graceful, negligent, though animated air of the one, and the vulgar eagerness of the other, furnish a signal instance of the skill of the ancient sculptors in their nice discrimination of character. They are both equally true to nature, and equally admirable." Grace, character, and expression, are rather in form and attitude than in features; the general figure more presents itself; "it is there we must principally look for expression or character; _patuit in corpore vultus_." The expression in the countenances of the Laocoon and his two sons, though greater than in any other antique statues, is of pain only; and that is more expressed "by the writhing and contortion of the body than by the features." The ancient sculptors paid but little regard to features for their expression, their object being solely beauty of form. "Take away from Apollo his lyre, from Bacchus his thyrsus and vine-leaves, and from Meleager the boar's head, and there will remain little or no difference in their characters." John di Bologna, he tells us, after he had finished a group, called his friends together to tell him what name to give it: they called it the "Rape of the Sabines." A similar anecdote is told of Sir Joshua himself, that he had painted the head of the old man who attended him in his studio. Some one observed that it would make a Ugolino. The sons were added, and it became the well-known historical picture from Dante. He comments upon the ineffectual attempts of modern sculptors to detach drapery from the figure, to give it the appearance of flying in the air; to make different plans on the same bas-relievos; to represent the effects of perspective; to clothe in a modern dress. For the first attempt he reprehends Bernini, who, from want of a right conception of the province of sculpture, never fulfilled the promise given in his early work of Apollo and Daphne. He was ever attempting to make drapery flutter in the air, which the very massiveness of the material, stone, should seem to forbid. Sir Joshua does not notice the very high authority for such an attempt--though it must be confessed the material was not stone, still it was sculpture, and multitudinous are the graces of ornament, and most minutely described--the shield of Hercules, by Hesiod; even the noise of the furies' wings is affected. The drapery of the Apollo he considers to have been intended more for support than ornament; but the mantle from the arm he thinks "answers a much higher purpose, by preventing that dryness of effect which would inevitably attend a naked arm, extended almost at full length; to which we may add, the disagreeable effect which would proceed from the body and arm making a right angle." He conjectures that Carlo Maratti, in his love for drapery, must have influenced the sculptors of the Apostles in the church of St John Lateran. "The weight and solidity of stone was not to be overcome."