In reviewing the ages which have been made to pass before us in their leading characters, the thirteenth and fourteenth centuries, we perceive, may be termed the infancy of sculpture; with the fifteenth begins its manhood, while in some respects full vigour was attained even at the close of this period. During the two preceding centuries, we find views frequently derived from the antique, of which many specimens were brought directly from the East to Pisa. A character of truth and simplicity, faithful imitation of nature, and just expression, visibly begin from the time of Nicolo, whose own style indeed is remarkable for sweetness and absence of all pretension. The effect is never daringly ventured, but is sought to be discovered by patient reiteration of effort and persevering imitation. At first, therefore, no acknowledged principles of taste or of composition can be perceived; a degree of restraint and meagreness consequently long pervade the early labours of sculpture. But if in these the creative faculties have seldom been conspicuously exerted; if the fancy be rarely excited by novelty or variety of invention, the heart, even in the sculpture of the fourteenth century, is often awakened to deep feeling by unexpected beauties of the sweetest power, arising from a diligent imitation of nature. The art being chiefly dedicated to devotion, and to the memory of departed virtue, an air of dignified sincerity, a touching portraiture of the gentler affections, diffuse over the mind of the spectator a melancholy yet pleasing serenity, to be felt rather than described--which give back the images of our own sensibilities in all their simple, unpretending reality. The succeeding age assumes a style and character more elevated, without being less true. The simplicity is refined--equally removed from affectation as from poverty--the skill of hand great, the execution bold and felicitous; yet still exercised as a means, never as an instrument to astonish or surprise. Nature is imitated faithfully, under the least remote appearances, and by the simplest expression--the manner never allures from the subject. The great proportion of the sculpture of this century being in bronze, may account for a style of execution in some respects harsh, with a degree of restraint, and occasionally defective in energy. As respects intellectual merits, the design is always chaste, often extremely elegant; the composition judicious, seldom contrasted or grouped artificially. The expression is sweet and calmly dignified, for rarely is strongly marked passion attempted. No decided aims at representation of abstract or ideal beauty can be observed; the powers of fancy are never presumed upon--seldom roused by remote associations. But the mind of the artist, now no longer entirely engrossed in mechanical detail, or confined by difficulties of mere representation, expatiates, selects, combines; if the forms and