(_ββ_) The principle for an artistic type of clothing, then, consists in this that it is at the same time treated as a work of architectonic design. Such a work is simply an environment, in which a man can likewise move in freedom, and which must essentially possess and declare on its part a determinate shape of its own as its mode of covering quite apart from the form which it encloses. Add to this such a work, in its aspect of a thing which is worn and carried, must freely follow its own mechanical texture. A principle of this type follows in the track of the kind of draping which we find adopted in the ideal sculpture of the ancients. Particularly here do we find that the mantle is as it were a house in which free motion is possible. It is no doubt carried, but is only made fast at one point, namely, on the shoulder. For the rest it evolves its particular form according to the modifications brought about by its own weight; it hangs, falls along the ground, and casts folds spontaneously, and only receives through the pose the varied changes of this free kind of configuration. In like manner there is little to impair essentially, if in varied degree, the freedom of disposition in other parts of antique drapery. This it is which constitutes its artistic quality. It is only in drapery such as this that we do not face something which is a burden, and something artificial, whose shape merely displays an external constraint and necessity, which is rather something itself independent in its form, and which, however, accepts from a spiritual source, that is the pose of the figure, its point of departure. For this reason the garments of the ancients are only fastened to the body so far as is actually unavoidable, that is, to prevent their collapse, and are modified by the pose of it. In all other respects they hang freely about it, and themselves in their power of movement through the motion of the body give yet further support to the same principle. And this is wholly as it should be; for the body is one thing and its drapery another, and the latter ought thereby to receive its full due and be displayed in its freedom. Modern clothing on the contrary is either wholly carried by the body and purely in subjection to it, so that even the pose itself is too emphatically repeated, and it merely follows the forms of the limbs, or, in cases where it is able to secure an independent form in the formation of folds, it is after all merely the tailor's work who makes this form according to the exigences of fashion. The material is, on the one hand, dragged up and down by the various parts of the body and their movements, and, on the other, by its stitches and seams. On grounds of this description the antique form of drapery is by a long way to be preferred to our modern style as the ideal standard for works of sculpture. No end has been written with every resource of antiquarian research over the form and details of the ancient ways of