His figure wanted beauty: he again poured water to a proper height over his model, and then numbering the degrees to the line described by the water, he descried the exact height of the protuberant parts; on these he levelled his rule, and took the measure of the distance, from its verge to the bottom; and then comparing all he had done with his marble, and finding the same number of degrees, he was geometrically sure of success. Repeating his task, he attempted to express the motion and re-action of nerves and muscles, the soft undulations of the smaller parts, and every imitable beauty of his model. The water insinuating itself, even into the most inaccessible parts, traced their Contour with the correctest sharpness and precision. This method admits of every possible posture. In profile especially, it discovers every inadvertency; shews the Contour of the prominent and lower parts, and the whole diameter. All this, and the hope of success, presupposes a model formed by skilful hands, in the true taste of antiquity. This is the way by which _Michael Angelo_ arrived at immortality. Fame and rewards conspired to procure him what leisure he wanted, for performances which required so much care. But the artist of our days, however endowed by nature and industry with talents to raise himself, and even though he perceive precision and truth in this method, is forced to exert his abilities for getting bread rather than honour: he of course rests in his usual sphere, and continues to trust in an eye directed by years and practice. Now this eye, by the observations of which he is chiefly ruled, being at last, though by a great deal of uncertain practice, become almost decisive: how refined, how exact might it not have been, if, from early youth, acquainted with never-changing rules! And were young artists, at their first beginning to shape the clay or form the wax, so happy as to be instructed in this sure method of _Michael Angelo_, which was the fruit of long researches, they might with reason hope to come as near the Greeks as he did. VI. PAINTING. Greek Painting perhaps would share all the praises bestowed on their Sculpture, had time and the barbarity of mankind allowed us to be decisive on that point. All the Greek painters are allowed is Contour and Expression. Perspective, Composition, and Colouring, are denied them; a judgment founded on some bas-reliefs, and the new-discovered ancient (for we dare not say Greek) pictures, at and near Rome, in the subterranean vaults of the palaces of Mæcenas, Titus, Trajan, and the Antonini; of which but about thirty are preserved entire, some being only in Mosaic. _Turnbull_, to his treatise on ancient painting, has subjoined a collection of the most known ancient pictures, drawn by _Camillo Paderni_, and engraved by _Mynde_; and these alone give some value to the magnificent and abused paper of his work. Two of them are copied from originals in the cabinet of the late Dr. _Mead_.