It may be remarked that Grace, Character, and Expression, though words of different sense and meaning, and so understood when applied to the works of Painters, are indiscriminately used when we speak of Sculpture. This indecision we may suspect to proceed from the undetermined effects of the Art itself; those qualities are exhibited in Sculpture rather by form and attitude than by the features, and can therefore be expressed but in a very general manner. Though the Laocoon and his two sons have more expression in the countenance than perhaps any other antique statues, yet it is only the general expression of pain; and this passion is still more strongly expressed by the writhing and contortion of the body than by the features. It has been observed in a late publication, that if the attention of the Father in this group had been occupied more by the distress of his children than by his own sufferings, it would have raised a much greater interest in the spectator. Though this observation comes from a person whose opinion, in everything relating to the Arts, carries with it the highest authority, yet I cannot but suspect that such refined expression is scarce within the province of this Art; and in attempting it, the Artist will run great risk of enfeebling expression, and making it less intelligible to the spectator. As the general figure presents itself in a more conspicuous manner than the features, it is there we must principally look for expression or character; _patuit in corpore vultus_; and, in this respect, the Sculptor's art is not unlike that of Dancing, where the attention of the spectator is principally engaged by the attitude and action of the performer, and it is there he must look for whatever expression that art is capable of exhibiting. The Dancers themselves acknowledge this, by often wearing masks, with little diminution in the expression. The face bears so very inconsiderable a proportion to the effect of the whole figure, that the ancient Sculptors neglected to animate the features, even with the general expression of the passions. Of this the group of the Boxers is a remarkable instance; they are engaged in the most animated action with the greatest serenity of countenance. This is not recommended for imitation (for there can be no reason why the countenance should not correspond with the attitude and expression of the figure), but is mentioned in order to infer from hence, that this frequent deficiency in ancient Sculpture could proceed from nothing but a habit of inattention to what was considered as comparatively immaterial.