But I do not wish to describe the decline of art, or enumerate the names of the celebrated masters who exalted sculpture in the palmy days of Pericles, or even Alexander. I simply allude to sculpture as an art which reached a great perfection among the Greeks and Romans, as we have a right to infer from the specimens which have been preserved. How many more must have perished, we may infer from the criticisms of the ancient authors! The finest productions of our own age are in a measure reproductions. They cannot be called creations, like the statue of the Olympian Jove. Even the Moses of Michael Angelo is a Grecian god, and the Greek Slave a copy of an ancient Venus. The very tints which have been admired in some of the works of modern sculptors are borrowed from Praxiteles, who succeeded in giving an appearance of living flesh. The Museum of the Vatican alone contains several thousand specimens of ancient sculpture which have been found among the debris of former magnificence, many of which are the productions of Grecian artists transported to Rome. Among them are antique copies of the Cupid and the Faun of Praxiteles, the statue of Demosthenes, the Minerva Medica, the Athlete of Lysippus, the Torso Belvidere, sculptured by Apollonius, the Belvidere Antinous, of faultless anatomy and a study for Domenichino, the Laocoon, so panegyrized by Pliny, the Apollo Belvidere the work of Agasias of Ephesus, the Sleepy Ariadne, with numerous other statues of gods and goddesses, emperors, philosophers, poets, and statesmen of antiquity. The Dying Gladiator, which ornaments the capitol, alone is a magnificent proof of the perfection to which sculpture was brought centuries after the art had culminated at Athens. And these are only a few which stand out among the twenty thousand recovered statues which now embellish Italy, to say nothing of those which are scattered over Europe. We have the names of hundreds of artists who were famous in their day. Not merely the figures of men are chiseled, but animals and plants. Nature, in all her forms, was imitated; and not merely Nature, but the dresses of the ancients are perpetuated in marble. No modern sculptor has equaled, in delicacy of finish, the draperies even of those ancient statues, as they appear to us after the exposure and accidents of two thousand years. No one, after a careful study of the museums of Europe, can question that, of all the nations who have claimed to be civilized, the ancient Greek and Roman deserve a proud preeminence in an art which is still regarded as among the highest triumphs of human genius. All these matchless productions of antiquity, it should be remembered, are the result of native genius alone, without the aid of Christian ideas. Nor, with the aid of Christianity, are we sure that any nation will ever soar to loftier heights than did the Greeks in that proud realm which was consecrated to Paganism. * * * * *