From a careful examination of the imperial busts,--for the jealous fears of these tyrants soon forbade any others to be sculptured--we derive our best knowledge of the Roman school. The style of design during the first, or republican age, is distinguished by squareness and vigour in the forms--decision of arrangement--boldness and firmness in pronouncing the parts, accompanied with truth and great force of general effect, but destitute of minuteness and accuracy in the details. The mastery of touch, indeed, is frequently so daring, as to be redeemed from the imputation of careless and unfinished only by the vigorous meaning of every stroke. We detect the greatest deficiency in those passing lines of thought and form, where little meets the outward sense, but in which the science and feeling of the artists are most surely displayed and most severely tried; the expression of the eyes are studied, and the eye-ball, with intent to produce an imposing look, is made larger than in nature. The hair, though skilfully massed, and fine in distant effect, is particularly heavy; indeed, the characteristic defect is harshness--an absence of those sweet and flowing lines which bring the contour fully, but graciously, upon the view. To the close of the first century, bold and facile execution, and force of effect, continue to take the place of simple and accurate design and natural expression--faults most conspicuous in the most prosperous time, the reigns of Titus and Trajan, from the art being exercised chiefly on architectural designs. In addition to the dry, the hard, and laboured, the era of Hadrian is further distinguished by the pupil of the eye having a deeply drilled orifice, and by the separate parts of the countenance being marked with an affected and unnatural depth. The busts of Aurelius are the last good examples. Under Severus appears a singular affectation of marking the forehead, and even the whole countenance, with furrows. Subsequently every reign displays more decided retrogression, and the final disappearance of every redeeming excellence. CHAPTER VI.