Of these three series, the Homeric is the most popular. This preference may, perhaps, be accounted for by the Grecian poem being more generally familiar than that of Dante: yet the subject of the Divina Commedia in many respects appears to have been more congenial to the talents of the artist; and perhaps an impartial judgment will pronounce, that of all the works of Flaxman, the designs from Dante best exhibit his peculiar genius. During his stay at Rome he executed for Frederick, Earl of Bristol and Bishop of Derry, a group in marble, which consisted of four figures larger than life, representing the fury of Athamas, from Ovid’s Metamorphoses: by this he lost money, the price agreed on being only six hundred guineas; a sum insufficient to cover the expenses of the work. The recollection of this piece of patronage was so disgusting, to use the word by which he himself once characterized it, that in after life he could not bear to talk on the subject. Whilst in Italy he made numerous drawings and memoranda upon ancient art, which afterwards formed the groundwork of his lectures on sculpture. After an absence of seven years he returned to England, and engaged a house in Buckingham-street, in which he continued to reside till his death. His first great work after his return was a monument to the Earl of Mansfield. In 1797 he was elected an associate, and in 1800, a member of the Royal Academy, to which he presented, on his admission, a marble group of Apollo and Marpessa. He visited for a short time, in 1802, the splendid collections of the Louvre, in order to revive his early recollection of the works of art which had been brought from Rome. In 1810, a professorship of sculpture having been established by the Academy, he was elected to fill the chair, and his lectures were commenced in 1811. Those who had formed high expectations of eloquence, and of felicity of diction and illustration, were disappointed. The sedate gravity of his manner, his unimpassioned tone, and the somewhat dull catalogue of statues and works of art which he occasionally introduced, conduced to tire a general audience. But the ten lectures, which have been published since his death, must always furnish an important manual to every student in sculpture. The lectures on Beauty, and the contrast of Ancient and Modern Sculpture, are peculiarly interesting, and embody nearly all which can be said on the leading principles of art. In addition to these lectures he wrote several anonymous articles, which are enumerated by Mr. Cunningham. These were the ‘Character of the Works of Romney,’ for Hayley’s life of that artist, and either the whole or part of the articles, Armour, Basso-relievo, Beauty, Bronze, Bust, Composition, Cast, Ceres, in Rees’s Cyclopædia. Many of the opinions put forth in these different essays he has embodied in his lectures.