epigram was composed:-- Pigal au naturel represente Voltaire-- Le squelette à la fois offre l'homme et l'auteur. L'[oe]il qui le voit sans parure étrangère Est effrayé de sa maigreur! Bermudez, the historian of Spanish art, enumerates a splendid list of native sculptors from the commencement of the sixteenth century. This, however, is scarcely consistent with the fact, that not till 1558, in consequence of a royal edict, was this esteemed a liberal profession, or admitted to any privileges as such. It is easy to perceive indeed, that national partiality, or that adventitious magnitude which every subject is apt to acquire in the estimation of the writer, has led, in this instance, to consider as artists, those who have with remarkable success been employed in ornamenting the fine ecclesiastical edifices in Spain, beyond which they are little known. Berruguete, a pupil of Michael Angelo, appears to have founded the first regular school, of which Paul de Cespides was the ornament, as he is of the national sculpture. Before the seventeenth century, Germany makes no appearance in a general history of sculpture; and even now she is more celebrated for her writers on the philosophy, than for her artists in the practice, of the art. Still the genius of the nation we should be inclined to estimate as highly favorable to its future advancement. In Vienna, Rauchmüller; in Silesia, Leigebe; at Berlin, Schluter, Millich, Barthel, and others, have proved this estimate not unfounded. While our more immediate contemporaries, Ohnmacht, Sonnenschein, Nahl, the two Shadofs, especially the younger, whose Spinning Girl is one of the most exquisite imitations of simple nature which modern art can show, do not discourage this hope; if indeed artists be not carried away by that unnatural striving after marvellous effect, which has wrought so much injury to common sense and right feeling in German literature.