From a head so determined, arose an harmonious system of features. Under a front as full as open, the frontal muscles assumed the seat of meaning; the cavity of the eyes became deeper, and took a regular and equal distance from the centre of the nose, a feature of which few of the moderns ever had a distinct idea; the mouth and lips were shaped for organs of command and persuasion, rather than appetite; and the apodosis of the whole, resolution and support, was given in the chin. From a head so regulated, and placed on the most beautiful of all columns, the neck, the thinking artist could not fail to conclude to the rest of the body. As the under parts of the head were subordinate to the front, so was the lower part of the torso to the breast. The organs of mere nutrition, or appetite, and secretion, receded and were subjected to the nobler seats of action and vigour. Such harmony of system was not only the result of numeric proportion, of length and breadth of parts; it was the conception of one indivisibly connected whole, variously uniform:--god, goddess, hero, heroine, male, female, infancy, youth, virility and age, majesty, energy, agility, beauty, character, and passions, directed the method of treatment, and formed STYLE. The sculptured monuments left by the ancients, that have escaped the wreck of time and compose the magnificent collections of the Academy and the Museum, amply prove that these assertions are not the visionary brood of fancy and sanguine wishes, whilst they offer to the student advantages which, perhaps, no ancient, certainly no modern schools ever could or can offer to theirs, not even that of formerly the real and still the nominal metropolis of Art--Rome. These monuments may be aptly divided into three classes: 1st. Imitations, not seldom transcripts of _Essential Nature_. 2nd. Homogeneous delineations of _Character_; and 3rd. The highest and last--_Ideal_ Figures. The first shows to advantage what exists or existed; the second collects in one individual, what is scattered in his class; the third subordinates existence and character to beauty and sublimity.