It took a long while for artists to understand that the Greek face was the ideal face merely to Greek sculptors. During the baser ages of the sculpturesque art, (how far towards our own day the epicycle inclusive of those ages extended it would be invidious for us to say,) sculpture consisted of the nearest imitation of Greek models which was possible of attainment by _talents_, with an occasional intercalated _genius_, hampered by prevailing modes. That the Greek face was _beautiful_, none could doubt. That in the sovereign points of _intellect_ it was the absolute beau-ideal is open to great doubt. Apart from all such questions, the fact of subservience exists. Even Benjamin Robert Haydon, the man who thought himself called to be the æsthetic saviour of the age, knew no other, no better way of making himself master of solid form than by lying down in the cold with a candle before the Elgin marbles. Let not this be mistaken as a slur upon one of the most devoted men in history,--a man who surely lived, and who, aside from the pangs of poverty, probably died, for the regeneration of Art. We only mean to select an instance preëminent over all that can be mentioned, to show that until a very late date even the most learned men in the Art-world had not cut loose from the fascination of old models, considered not as suggestive, but as dominant. There is nothing in the sculptors of Haydon's period to prove that their view differed essentially from that of the most self-devoted theorist among painters.