attempt at giving a character of decided variation; but, on the
contrary, we see the foot split up with toes of an equal length and
thickness; while, in Greek sculpture, these points characteristic of man
are increased, that the affinity to animals may be diminished. In the
Greek marbles, the great toe is large and apart from the others, where
the strap of the sandal came; while the others gradually diminish and
sweep round to the outside of the foot, with the greatest regularity of
curve; the nails are short, and the toes broad at the points, indicative
of pressure on the ground." Rigidity he considers to have been the
character of the first epochs, changing ultimately as in the Elgin
marbles, "from the hard characteristics of stone to the vivified
character of flesh." He thinks Reynolds "would have acknowledged the
supremacy of beautiful nature, uncontrolled by the severe line of
mathematical exactness," had he lived to see the Elgin marbles. "The
outline of life, which changes under every respiration, seems to have
undulated under the plastic mould of Phidias." This is well expressed.
He justly animadverts upon the silly fashion of the day, in lauding the
vulgar imitation of the worsted stockings by Thom. The subjects chosen
were most unfit for sculpture,--their only immortality must be in Burns.
We do not understand his extreme admiration of Wilkie; in a note on
parallel perspective in sculpture, he adduces Raffaelle as an example of
the practice, and closes by comparing him with Sir David Wilkie,--"known
by the appellation of the Raffaelle of familiar life,"--men perfect
antipodes to each other! There is a proper eulogy on Chantrey,
particularly for his busts, in which he commonly represented the eye. We
are most anxious for the arrival of the ancient sculpture from Lycia,
collected and packed for Government by the indefatigable and able
traveller, Mr Fellowes.

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