thus to honour and improve first his country, then all human kind. We
rise from such passages as these elevated above all that is little.
Those only can feel depressed who would find excuses for the lowness of
their pursuits.

* * * * *

The TENTH DISCOURSE.--Sir Joshua here treats of Sculpture, a less
extensive field than Painting. The leading principles of both are the
same; he considers wherein they agree, and wherein they differ.
Sculpture cannot, "with propriety and best effect, be applied to many
subjects." Its object is "form and character." It has "one style
only,"--that one style has relation only to one style of painting, the
Great Style, but that so close as to differ only as operating upon
different materials. He blames the sculptors of the last age, who
thought they were improving by borrowing from the ornamental,
incompatible with its essential character. Contrasts, and the
littlenesses of picturesque effects, are injurious to the formality its
austere character requires. As in painting, so more particularly in
sculpture, that imitation of nature which we call illusion, is in no
respect its excellence, nor indeed its aim. Were it so, the Venus di
Medici would be improved by colour. It contemplates a higher, a more
perfect beauty, more an intellectual than sensual enjoyment. The
boundaries of the art have been long fixed. To convey "sentiment and
character, as exhibited by attitude, and expression of the passions," is
not within its province. Beauty of form alone, the object of sculpture,
"makes of itself a great work." In proof of which are the designs of
Michael Angelo in both arts. As a stronger instance:--"What artist,"
says he, "ever looked at the Torso without feeling a warmth of
enthusiasm as from the highest efforts of poetry? From whence does this