_Coroll._--The superiority of style in drapery over that of the limbs which it covers in the earliest essays of art after its restoration, is not accounted for by the assertion that it is transcribed from the antique: if it is, by what unaccountable perverseness did the forms of the nudities uniformly escape observation? In painting, this dissonance continues more or less offensively from the epoch of Cimabue to that of Masaccio, and, him excepted, down to Pinturicchio; and ceases not to shock us in sculpture from the Pisani, to the appearance of Lorenzo Ghiberti. Nor did that style of drapery mark only the productions of Italian art; on this side of the Alps it invested that of Germany, from the Angels and Madonnas of Martin Schongaver and Albert Durer, to those of Aldegraver and Sebald Behm: in nearly all their performances, Trans and Cisalpine, the wearer is the appendix of his garment, chucked into vestments not his own, a dwarfish thief hid in a giant's robe. 196. Raffael's drapery is the assistant of character; in Michael Angelo it envelopes grandeur; it is in Rubens the ponderous robe of pomp. 197. If Nature has not taught you to sketch, you apply in vain to art to finish your work.[38] 198. Some must be idle lest others should want work.[39] 199. He who submits to follow, is not made to precede.[40] 200. Consider it as the unalterable law of Nature that all your power upon others depends on your own emotions. Shakspeare wept, trembled, laughed first at what now sways the public feature; and where he did not, he is stale, outrageous or disgusting. 201. None but indelible materials can support the epic. Whatever is local, or the volatile creature of the time, beauties of fashion and sentiments of sects, tears shed over roses, epigrammatic sparkling, passions taught to rave, and graces trained to move, the antiquary's mouldering stores, the bubbles of allegorists--are all with equal contempt passed over or crushed by him who claims the lasting empire of the human heart. 202. The invention of machines to supersede manual labour will at length destroy population and commerce;[41] and the methods contrived to shorten the apprenticeship of artists annihilate art. 203. Expect no religion in times when it is easier to meet with a saint than a man; and no art in those that multiply their artists beyond their labourers. 204. Expect nothing but trifles in times when those who ought to encourage the arts are content to debase them by their own performances. 205. Mediocrity despatches and exults; the man of talent congratulates himself on the success of his exertions--Genius alone mourns over defeated expectation. 206. Pride.--Call not him proud who is influenced by the tide and ebb of opinion.