Imitation of the antique may be too exclusive, and may produce an injurious effect on modern sculpture;--1st, generally, because such an imitation cannot fail to have a tendency to keep the attention fixed on externals rather than on the thought within;--2ndly, because, accordingly, it leads the artist to rest satisfied with that which is always imperfect, namely, bodily form, and circumscribes his views of mental expression to the ideas of power and grandeur only;--3rdly, because it induces an effort to combine together two incongruous things, that is to say, modern feelings in antique forms;--4thly, because it speaks in a language, as it were, learned and dead, the tones of which, being unfamiliar, leave the common spectator cold and unimpressed;--and lastly, because it necessarily causes a neglect of thoughts, emotions and images of profounder interest and more exalted dignity, as motherly, sisterly, and brotherly love, piety, devotion, the divine become human,--the Virgin, the Apostle, the Christ. The artist's principle in the statue of a great man should be the illustration of departed merit; and I cannot but think that a skilful adoption of modern habiliments would, in many instances, give a variety and force of effect which a bigotted adherence to Greek or Roman costume precludes. It is, I believe, from artists finding Greek models unfit for several important modern purposes, that we see so many allegorical figures on monuments and elsewhere. Painting was, as it were, a new art, and being unshackled by old models it chose its own subjects, and took an eagle's flight. And a new field seems opened for modern sculpture in the symbolical expression of the ends of life, as in Guy's monument, Chantrey's children in Worcester Cathedral, &c. Architecture exhibits the greatest extent of the difference from nature which may exist in works of art. It involves all the powers of design, and is sculpture and painting inclusively. It shews the greatness of man, and should at the same time teach him humility. Music is the most entirely human of the fine arts, and has the fewest 'analoga' in nature. Its first delightfulness is simple accordance with the ear; but it is an associated thing, and recalls the deep emotions of the past with an intellectual sense of proportion. Every human feeling is greater and larger than the exciting cause,--a proof, I think, that man is designed for a higher state of existence; and this is deeply implied in music in which there is always something more and beyond the immediate expression.