What Grace is, how it is to be acquired or conceived, are in speculation difficult questions; but _causa latet, res est notissima_: without any perplexing inquiry, the effect is hourly perceived. I shall only observe that its natural foundation is correctness of design; and though grace may be sometimes united with incorrectness, it cannot proceed from it. But to come nearer to our present subject. It has been said that the grace of the Apollo depends on a certain degree of incorrectness: that the head is not anatomically placed between the shoulders; and that the lower half of the figure is longer than just proportion allows. I know that Correggio and Parmegiano are often produced as authorities to support this opinion; but very little attention will convince us that the incorrectness of some parts which we find in their works does not contribute to grace, but rather tends to destroy it. The Madonna, with the sleeping Infant, and beautiful group of Angels, by Parmegiano, in the Palazzo Piti, would not have lost any of its excellence if the neck, fingers, and, indeed, the whole figure of the Virgin, instead of being so very long and incorrect, had preserved their due proportion. In opposition to the first of these remarks, I have the authority of a very able Sculptor of this Academy, who has copied that figure, consequently measured and carefully examined it, to declare that the criticism is not true. In regard to the last, it must be remembered that Apollo is here in the exertion of one of his peculiar powers, which is swiftness; he has therefore that proportion which is best adapted to that character. This is no more incorrectness than when there is given to an Hercules an extraordinary swelling and strength of muscles. The art of discovering and expressing grace is difficult enough of itself, without perplexing ourselves with what is incomprehensible. A supposition of such a monster as Grace, begot by Deformity, is poison to the mind of a young Artist, and may make him neglect what is essential to his art--correctness of Design--in order to pursue a phantom, which has no existence but in the imagination of affected and refined speculators. I cannot quit the Apollo without making one observation on the character of this figure. He is supposed to have just discharged his arrow at the Python; and, by the head retreating a little towards the right shoulder, he appears attentive to its effect. What I would remark is the difference of this attention from that of the Discobolus, who is engaged in the same purpose, watching the effect of his Discus. The graceful, negligent, though animated air of the one, and the vulgar eagerness of the other, furnish a signal instance of the judgment of the ancient sculptors in their nice discrimination of character. They are both equally true to nature, and equally admirable.