Eugene, who well knew their value, provided a Sala Terrena to be built expressly for them, and a few others: and so highly were they esteemed, that even on the first rumour of their sale, the academy and the artists were in an uproar, and every body, when they were transported to Dresden, followed them with heavy eyes. The famous _Matielli_, to whom _His rule Polyclet, his chissel Phidias gave,_ Algarotti. copied them in clay before their removal, and following them some years after, filled Dresden with everlasting monuments of his art: but even there he studied the drapery of his priestesses, (drapery his chief skill!) till he laid down his chissel, and thus gave the most striking proof of their excellence. III. DRAPERY. By Drapery is to be understood all that the art teaches of covering the nudities, and folding the garments; and this is the third prerogative of the ancients. The Drapery of the vestals above, is grand and elegant. The smaller foldings spring gradually from the larger ones, and in them are lost again, with a noble freedom, and gentle harmony of the whole, without hiding the correct Contour. How few of the moderns would stand the test here! Justice, however, shall not be refused to some great modern artists, who, without impairing nature or truth, have left, in certain cases, the road which the ancients generally pursued. The Greek Drapery, in order to help the Contour, was, for the most part, taken from thin and wet garments, which of course clasped the body, and discovered the shape. The robe of the Greek ladies was extremely thin; thence its epithet of Peplon. Nevertheless the reliefs, the pictures, and particularly the busts of the ancients, are instances that they did not always keep to this undulating Drapery[11]. In modern times the artists were forced to heap garments, and sometimes heavy ones, on each other, which of course could not fall into the flowing folds of the ancients. Hence the large-folded Drapery, by which the painter and sculptor may display as much skill as by the ancient manner. _Carlo Marat_ and _Francis Solimena_ may be called the chief masters of it: but the garments of the new Venetian school, by passing the bounds of nature and propriety, became stiff as brass. IV. EXPRESSION. The last and most eminent characteristic of the Greek works is a noble simplicity and sedate grandeur in Gesture and Expression. As the bottom of the sea lies peaceful beneath a foaming surface, a great soul lies sedate beneath the strife of passions in Greek figures.