not a single limb is detached. The right arm is not merely glued
to the body throughout, as well as the hand, but it has the
appearance of only being cut into the stone to a depth sufficient
to give due relief. This is equally true of the left arm, and of
the two legs, which are joined to each other throughout. The
sculptor has not wasted a stroke of the chisel. I would add here,
that between the third and fourth fingers of the right hand, the
slit is carried too far toward the wrist, seemingly by a slip of
the chisel.

Who did it? A trained sculptor; one who had seen, studied and
probably reproduced many a work of art; one who was thoroughly
acquainted with human anatomy. One, too, who had noble original
powers; for none but such could have formed and wrought out the
conception of that stately head, with its calm, grand smile, so
full of mingled sweetness and strength.

He appears, however, to have worked under certain disadvantages.
He had not such command of materials as a civilized country could
have afforded him. He had to put up with the best stone he could
find. I think that the peculiar posture of the statue can be
fairly explained by supposing that the original block tapered away
toward the feet, and was only just about the breadth of the statue
as we now see it. This seems fairly to explain the curious position
of the left arm. The artist had to put it there because there was
not breadth enough to put it in any other position. So of the
position of the feet--one over the other. The stone may not have
been wide enough to have admitted of any other position. Who was he?
Let us analyze a little.