the body in the fulness of its physical proportions. It touches our sensibilities by suggestions more indirect, more mobile, and more multiform. Colour and shadow, aërial perspective and complicated grouping, denied to sculpture, but within the proper realm of painting, have their own significance, their real relation to feelings vaguer, but not less potent, than those which find expression in the simple human form. To painting, again, belongs the play of feature, indicative of internal movement, through a whole gamut of modulations inapprehensible by sculpture. All that drapery by its partial concealment of the form it clothes, and landscape by its sympathies with human sentiment, may supply to enhance the passion of the spectator, pertains to painting. This art, therefore, owing to the greater variety of means at its disposal, and its greater adequacy to express emotion, became the paramount Italian art. To sculpture in the Renaissance, shorn of the divine right to create gods and heroes, was left the narrower field of decoration, portraiture, and sepulchral monuments. In the last of these departments it found the noblest scope for its activity; for beyond the grave, according to Christian belief, the account of the striving, hoping, and resisting soul is settled. The corpse upon the bier may bear the stamp of spiritual character impressed on it in life; but the spirit, with its struggle and its passion, has escaped as from a prison-house, and flown else-whither. The body of the dead man, for whom this world is over, and who sleeps in peace, awaiting resurrection, and thereby not wholly dead, around whose tomb watch sympathising angels or contemplative genii, was, therefore, the proper subject for the highest Christian sculpture. Here, if anywhere, the right emotion could be adequately expressed in stone, and the moulded form be made the symbol of repose, expectant of restored activity. The greatest sculptor of the modern age was essentially a poet of Death.