repose, how they are draped; and large-sized male figures, even in the painted portrait, when clothed after modern wont can only with difficulty be raised over what is insignificant. As instances we may mention the full-figure seated portraits by old Tischbein of Herder and Wieland, of which we have excellent engravings on copper. One feels at once, when looking at them, that it is a somewhat stale, flat, and unprofitable business to gaze at their breeches, stockings, and shoes, and absolutely so to see their cosy, self-contented posture on a sofa, where they have their hands lying happily together over their paunches. It is another matter with portrait statues of individuals where, either in respect to the period of their activity they are far removed from our own, or are themselves essentially of an ideal greatness. In such cases what is old is already divested of the temporal aspect and has passed into the more indefinite background of the general idea, so that in this release from its particular form of actuality it is also in the mode of its drapery capable of an ideal presentation. And this is still more true in the case of individuals, who by virtue of their self-subsistency and the ideal fulness of what are otherwise the mere limitations of their particular profession, and detached from what is merely the activity of a definite period of time, create independently for themselves a free totality, a world of relations and activities, and consequently should appear, even in the aspect of their habiliments, as exalted above the familiar guise of everyday life in their ordinary temporal costume. As far back as the Greeks we find statues of Achilles and Alexander, on which the more individual traits of portraiture are of so fine a quality that we should rather imagine them to be sons of gods than human beings. In the case of the genial and greathearted youth Alexander this is quite as it should be. And in much the same way, moreover, Napoleon himself has been lifted to such a fame, and is a genius of so comprehensive a grasp, that there is no reason why he should not be depicted in ideal drapery, which indeed would not be unfitting for Frederick the Great, when the object is to celebrate him in all his greatness of soul. No doubt the size of the statues is here, too, of importance. In the case of small figures, which carry an air of familiarity, the three-cornered little hat of Napoleon is out of place no less than the famous uniform and the arms crossed over breast, and, if we desire to have before us the great Frederick as "old Fritz," we may have him pictured for us with hat and stick as we find him on tobacco boxes. 3. THE INDIVIDUALITY OF IDEAL FIGURES OF SCULPTURE