The desire of transmitting to posterity the shape of modern dress must be acknowledged to be purchased at a prodigious price, even the price of everything that is valuable in art. Working in stone is a very serious business; and it seems to be scarce worth while to employ such durable materials in conveying to posterity a fashion of which the longest existence scarce exceeds a year. However agreeable it may be to the Antiquary's principles of equity and gratitude, that as he has received great pleasure from the contemplation of the fashions of dress of former ages, he wishes to give the same satisfaction to future Antiquaries; yet, methinks, pictures of an inferior style, or prints, may be considered as quite sufficient, without prostituting this great art to such mean purposes. In this town may be seen an Equestrian Statue in a modern dress, which may be sufficient to deter future artists from any such attempt: even supposing no other objection, the familiarity of the modern dress by no means agrees with the dignity and gravity of Sculpture. Sculpture is formal, regular, and austere; disdains all familiar objects, as incompatible with its dignity; and is an enemy to every species of affectation, or appearance of academical art. All contrast, therefore, of one figure to another, or of the limbs of a single figure, or even in the folds of the drapery, must be sparingly employed. In short, whatever partakes of fancy or caprice, or goes under the denomination of Picturesque (however to be admired in its proper place), is incompatible with that sobriety and gravity which is peculiarly the characteristic of this art. There is no circumstance which more distinguishes a well-regulated and sound taste, than a settled uniformity of design, where all the parts are compact, and fitted to each other, everything being of a piece. This principle extends itself to all habits of life, as well as to all works of art. Upon this general ground therefore we may safely venture to pronounce, that the uniformity and simplicity of the materials on which the Sculptor labours (which are only white marble), prescribes bounds to his art, and teaches him to confine himself to a proportionable simplicity of design. FOOTNOTES: 12: In the Loggia dei Lauzi at Florence.--Note, Ed. DISCOURSE XI. _Delivered to the Students of the Royal Academy, on the Distribution of the Prizes, December 10, 1782._ GENIUS.--CONSISTS PRINCIPALLY IN THE COMPREHENSION OF A WHOLE; IN TAKING GENERAL IDEAS ONLY. The highest ambition of every Artist is to be thought a man of Genius. As long as this flattering quality is joined to his name, he can bear with patience the imputation of carelessness, incorrectness, or defects of whatever kind.