proceed? What is there in this fragment that produces this effect, but
the perfection of this science of abstract form?" Mr Burnet has given a
plate of the Torso. The expectation of deception, of which few divest
themselves, is an impediment to the judgment, consequently to the
enjoyment of sculpture. "Its essence is correctness." It fully
accomplishes its purpose when it adds the "ornament of grace, dignity of
character, and appropriated expression, as in the Apollo, the Venus, the
Laocoon, the Moses of Michael Angelo, and many others." Sir Joshua uses
expression as will be afterwards seen, in a very limited sense. It is
necessary to lay down perfect correctness as its essential character;
because, as in the case of the Apollo, many have asserted the beauty to
arise from a certain incorrectness in anatomy and proportion. He denies
that there is this incorrectness, and asserts that there never ought to
be; and that even in painting these are not the beauties, but defects,
in the works of Coreggio and Parmegiano. "A supposition of such a
monster as Grace begot by Deformity, is poison to the mind of a young
artist." The Apollo and the Discobolus are engaged in the same
purpose--the one watching the effect of his arrow, the other of his
discus. "The graceful, negligent, though animated air of the one, and
the vulgar eagerness of the other, furnish a signal instance of the
skill of the ancient sculptors in their nice discrimination of
character. They are both equally true to nature, and equally admirable."
Grace, character, and expression, are rather in form and attitude than
in features; the general figure more presents itself; "it is there we
must principally look for expression or character; _patuit in corpore
vultus_." The expression in the countenances of the Laocoon and his two
sons, though greater than in any other antique statues, is of pain only;
and that is more expressed "by the writhing and contortion of the body
than by the features." The ancient sculptors paid but little regard to
features for their expression, their object being solely beauty of form.