Hence Architecture, Painting, and Statuary, (with strict propriety denominated the fine arts) primarily arose; hence they derived their most assiduous cultivation, and hence the utmost perfection to which they have yet attained. Unsatisfied with the hut that merely protected from the inclemencies of the elements, and, in the moments of repose, from the unwarned attacks of the savages of the forest, man soon sought out for more permanent, more pleasing habitations: to which experience first joined increased conveniences, and then his inventive faculties, sometimes aided by fortunate chance, sometimes led on by correct fancy, added those ornaments that have stood the test of ages, and fixed those proportions that have uniformly approved themselves to all the judicious through the revolving course of various centuries. The ingenuity of love taught the fair nymph to portray the shadow of that favoured youth whose merits had won her heart, that even in his absence she might feast her mind with beholding some similitude of his form: and hence the imagination, impregnated by the nascent thought, conceived those possibilities of excellence in painting, and that source of intellectual enjoyment thence arising, which Zeuxis and Parrhasius exhibited to the admiring eyes of Greece, and which Raphael and Michael Angelo have displayed to the enraptured contemplation of the modern world. Poetry, it is true, early indeed enabled mankind, by the fascinating power of its melodious sounds and its persuasive numbers, to "raise monuments[e] more durable than brass," and to consecrate to immortality those illustrious persons who had entitled themselves to lasting fame by their deserts. But, even long antecedent to that period, the desire of having some representative form of reverenced or beloved individuals had taught men to make some likenesses of them in rude sculptures of stone or ivory: though destitute of the advantage of colouring, yet more impressively striking to the senses than the productions of painting, had they then existed (which may be doubted), and, from the nature of their materials, less liable to the injuries of the weather. These, we acknowledge, were cold, inanimate, and destitute of all appearance of motion; till Dædalus contrived to give expression to the countenance and action to the limbs; on which succeeding artists improving, each rivalling and then surpassing his predecessor, at length produced those "works to wonder at," the exquisite, the unmatched, the divine dignity of the Apollo Belvedere, the energy, the athletic force of the Borghese combatant, the agonized expression of the Laocoon, and the tearful sorrows of the Niobe. [Footnote e: Exegi monumentum ære perennius. Horatii Carmi. Lib. iii. Ode 30.]