We may here be permitted to annex a few remarks on the art of sculpture; and we will curtail them the more, as it does not bear so much upon national manners as music, which formed a part of the education of the people, while the former art was consigned to the care of a few. Although from what we have observed elsewhere, it would be difficult to describe all in the ancient sculpture that was peculiar to the Doric nation, and that originated from them, we may still draw some conclusions from what has been already stated. There was in the Doric character a certain healthy sensibility, and a delight in the unadorned and unveiled forms of nature. That this very much favoured and assisted the progress of the above art is obvious; and that the human form was accurately studied and understood in the Doric schools of art is shown in those specimens of their works which have been preserved. The physical beauty of this race, ennobled and exposed to view by gymnastic(1747) and warlike exercises, gave a right direction to the study of sculpture; and the prevailing religion, the worship of Apollo, by the energy of the figure and variety of the attributes of that god, shows not only the original talent of this people for sculpture, but it was fitted to lead them by a succession of compositions to the highest excellence. On the other hand, we may infer from some of the above remarks, that the Dorians considered the beauty of art to consist more in proportion, harmony, and regularity, than in a superabundance of glitter and ornament; and this is exemplified by the character of Doric architecture. Lastly, hence arises the composure and evenness of mind which so greatly distinguished the Dorians, who anxiously preserved the usages of their fathers as much in the art of sculpture as in music.