"The outline of life, which changes under every respiration, seems to have undulated under the plastic mould of Phidias." This is well expressed. He justly animadverts upon the silly fashion of the day, in lauding the vulgar imitation of the worsted stockings by Thom. The subjects chosen were most unfit for sculpture,--their only immortality must be in Burns. We do not understand his extreme admiration of Wilkie; in a note on parallel perspective in sculpture, he adduces Raffaelle as an example of the practice, and closes by comparing him with Sir David Wilkie,--"known by the appellation of the Raffaelle of familiar life,"--men perfect antipodes to each other! There is a proper eulogy on Chantrey, particularly for his busts, in which he commonly represented the eye. We are most anxious for the arrival of the ancient sculpture from Lycia, collected and packed for Government by the indefatigable and able traveller, Mr Fellowes. * * * * * The ELEVENTH DISCOURSE is upon Genius, the particular genius of the painter in his power of seizing and representing nature, or his subject as a whole. He calls it the "genius of mechanical performance." This, with little difference, is enforcing what has been laid down in former Discourses. Indeed, as far as precepts may be required, Sir Joshua had already performed his task; hence, there is necessary repetition. Yet all is said well, and conviction perpetuates the impressions previously made. Character is something independent of minute detail; genius alone knows what constitutes this character, and practically to represent it, is to be a painter of genius. Though it be true that he "who does not at all express particulars expresses nothing; yet it is certain that a nice discrimination of minute circumstances, and a punctilious delineation of them, whatever excellence it may have, (and I do not mean to detract from it,) never did confer on the artist the character of genius." The impression left upon the mind is not of particulars, when it would seem to be so; such particulars are taken out of the subject, and are each a whole of themselves. Practically speaking, as we before observed, genius will be exerted in ascertaining how to paint the "_nothing_" in every picture, to satisfy with regard to detail, that neither its absence nor its presence shall be noticeable.