They do not put up monuments, nor write epitaphs, for their dead, though in former ages their practice was much as ours, but they have a custom which comes to much the same thing, for the instinct of preserving the name alive after the death of the body seems to be common to all mankind. They have statues of themselves made while they are still alive (those, that is, who can afford it), and write inscriptions under them, which are often quite as untruthful as are our own epitaphs—only in another way. For they do not hesitate to describe themselves as victims to ill temper, jealousy, covetousness, and the like, but almost always lay claim to personal beauty, whether they have it or not, and, often, to the possession of a large sum in the funded debt of the country. If a person is ugly he does not sit as a model for his own statue, although it bears his name. He gets the handsomest of his friends to sit for him, and one of the ways of paying a compliment to another is to ask him to sit for such a statue. Women generally sit for their own statues, from a natural disinclination to admit the superior beauty of a friend, but they expect to be idealised. I understood that the multitude of these statues was beginning to be felt as an encumbrance in almost every family, and that the custom would probably before long fall into desuetude. Indeed, this has already come about to the satisfaction of every one, as regards the statues of public men—not more than three of which can be found in the whole capital. I expressed my surprise at this, and was told that some five hundred years before my visit, the city had been so overrun with these pests, that there was no getting about, and people were worried beyond endurance by having their attention called at every touch and turn to something, which, when they had attended to it, they found not to concern them. Most of these statues were mere attempts to do for some man or woman what an animal-stuffer does more successfully for a dog, or bird, or pike. They were generally foisted on the public by some côterie that was trying to exalt itself in exalting some one else, and not unfrequently they had no other inception than desire on the part of some member of the côterie to find a job for a young sculptor to whom his daughter was engaged. Statues so begotten could never be anything but deformities, and this is the way in which they are sure to be begotten, as soon as the art of making them at all has become widely practised. I know not why, but all the noblest arts hold in perfection but for a very little moment. They soon reach a height from which they begin to decline, and when they have begun to decline it is a pity that they cannot be knocked on the head; for an art is like a living organism—better dead than dying. There is no way of making an aged art young again; it must be born anew and grow up from infancy as a new thing, working out its own salvation from effort to effort in all fear and trembling.