Statuary proper is sculpture in the round. The statue is therefore seen on every side. Statues are, (1) standing; (2) seated; (3) recumbent; (4) equestrian. Statues are classed into five forms as to size: Colossal, above the heroic standard; heroic, above six feet but under the colossal; life-size; small life-size; statuettes, half the size of life and smaller. To know the proper proportions of the figures is a matter of the utmost value in all sculpture, even more so than in painting, as the statue is measurable on every side and in every direction. It would have been impossible for the ancient Egyptians to carve out of the living rock their tremendous figures unless they had arrived at a rule of proportion for their figure. Without this their colossi would have been only rude monsters. Such a rule they had discovered and laid down in a canon, as it is called, similar to that which was followed by the Greek sculptors after them, and especially made known by Polycletus, whose name it received. Though there is some doubt about the precise terms of the canon, there can be no doubt that it had for its unit of measurement some part of the human figure. The version of Vitruvius Pollio is supposed to be the correct one. He says: “Nature has so composed the human body that the face, from the chin to the top of the forehead, and the roots of the hair, should be a tenth part; also the palm of the hand from the wrist-joint to the tip of the middle finger; the head from the chin to the highest point, an eighth; from the top of the chest to the roots of the hair, a sixth.” The rule of ten faces, or eight heads, derived from this, has remained to the present time. Several sculptors of a later period, who have given much attention to the subject of proportion, differ slightly from the canon of Polycletus, though it is commonly accepted. That strict rules of symmetrical proportion should be followed is necessary in all statuary, but especially in that which serves as a decoration for architecture. The knowledge of the figure acquired by eminent sculptors inspired them with admiration for the beautiful, and enabled them to express in the creation of their art an ideal of grand beauty, which was guided by a taste and feeling which rarely failed to direct them aright. It was the greatest sculptor of modern times, Michael Angelo, who said that the sculptor should carry “his compasses in his eye.” Some one comments on this that, “Sculptors, and painters especially, dread the rule of geometry. They regard rule as a fetter upon their invention, not dreaming that this great man (Michael Angelo), before he expressed himself thus, had for so long a time had the compasses in his hand.” This points to a profound truth in all practical art, that no man can be a great artist unless he have the power of drawing in the true proportions of the beautiful.