Those who think Sculpture can express more than we have allowed, may ask, by what means we discover, at the first glance, the character that is represented in a Bust, Cameo, or Intaglio? I suspect it will be found, on close examination, by him who is resolved not to see more than he really does see, that the figures are distinguished by their _insignia_ more than by any variety of form or beauty. Take from Apollo his Lyre, from Bacchus his Thyrsus and Vine-leaves, and Meleager the Boar's Head, and there will remain little or no difference in their characters. In a Juno, Minerva, or Flora, the idea of the artist seems to have gone no further than representing perfect beauty, and afterwards adding the proper attributes, with a total indifference to which they gave them. Thus John de Bologna, after he had finished a group of a young man holding up a young woman in his arms, with an old man at his feet, called his friends together, to tell him what name he should give it, and it was agreed to call it The Rape of the Sabines; and this is the celebrated group which now stands before the old Palace at Florence.[12] The figures have the same general expression which is to be found in most of the antique Sculpture; and yet it would be no wonder if future critics should find out delicacy of expression which was never intended; and go so far as to see, in the old man's countenance, the exact relation which he bore to the woman who appears to be taken from him. Though Painting and Sculpture are, like many other arts, governed by the same general principles, yet in the detail, or what may be called the by-laws of each art, there seems to be no longer any connection between them. The different materials upon which those two arts exert their powers must infallibly create a proportional difference in their practice. There are many petty excellencies which the Painter attains with ease, but which are impracticable in Sculpture; and which, even if it could accomplish them, would add nothing to the true value and dignity of the work. Of the ineffectual attempts which the modern Sculptors have made by way of improvement, these seem to be the principal; The practice of detaching drapery from the figure, in order to give the appearance of flying in the air;-- Of making different plans in the same bas-relievos;-- Of attempting to represent the effects of perspective;-- To these we may add the ill effect of figures clothed in a modern dress. The folly of attempting to make stone sport and flutter in the air is so apparent, that it carries with it its own reprehension; and yet to accomplish this seemed to be the great ambition of many modern Sculptors, particularly Bernini: his art was so much set on overcoming this difficulty, that he was forever attempting it, though by that attempt he risked everything that was valuable in the art.