THE progressive change in sculpture, from a style of severe and simple majesty, to one of more studied elegance and softer character, already noticed as having commenced even in the lifetime of Phidias, received its full developement under those masters who adorned the beginning of the Macedonian empire. Various political and moral causes, without decline of talent, might have contributed to this change, which is not even so great, while it corresponds with, the contemporary revolutions which, from similar origin, took place in manners and literature, in the opinions and usages of the times. The annals of no nation, also, can boast a distinguished succession of names, eminent in the exercises of the very highest genius. Sublimity is, in its own nature, a more simple sentiment than beauty, and the sources whence it springs infinitely more limited. If, then, we find the true sublime in Grecian sculpture confined to almost the age and the labour of one man, is this to be wondered at, when the same is the case, not only in their poetry, an art far more abundant in resources, but in the poetical literature of every people? The sculptors, then, who followed the era of Pericles to the death of Alexander, can be called inferior to Phidias, only in the same sense as the poets who succeeded will be termed inferior to Homer. In both instances, the change was but the application of principles which in their essence could not vary, the subjects requiring a modification of certain distinguishing qualities. But an opinion opposite to this is more commonly entertained, namely, that not till the improvements of Praxiteles and Lysippus, was ancient art perfectly free from the rude and harsh of that early taste. A glance, however, either to the Greek historians, or especially to the remaining labours of Phidias himself, is more than sufficient to show how utterly without foundation is this censure; and that no other man has united in his style more of the highest excellences. It is, in fact, this union which truly constitutes beauty in sculpture, whose sources of pleasing and of moving, being new, and derived only from the essential elements of design, form, and expression, admit of separation or imperfection with peculiar disadvantage. If we examine the Elgin Marbles in regard to those qualities considered as especial constituents of the beautiful, we shall find how slight indeed could be succeeding additions. More seductive grace, an air more elaborately refined, may have been given to the female statues of Praxiteles; but for that perfect beauty, which arises from including the essentials of excellence in the most liberal proportion, we search successfully in the labours of Phidias alone.