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1858.] might expatiate on the graceful, dignified aspect of Beethoven, the concentration of his thoughtful brow, and the loving serenity of his expression,—a kind of embodied musical self-absorption, yet an accurate portrait of the man in his inspired mood; so might he have stood when gathering into his serene consciousness the pastoral melodies of Nature, on a summer evening, to be incorporated into immortal combinations of harmonious sound;—we might descant upon the union of majesty and spirit in the figure of Washington and the vital truth of action in the horse, the air of command and of rectitude, the martial vigor and grace, so instantly felt by the popular heart, and so critically praised by the adept in statuary cognizant of the difficulties to be overcome and the impression to be absolutely evolved from such a work, in order to make it at once true to Nature and to character;—we might repeat the declaration, that no figure, ancient or modern, so entirely illustrates the classic definition of oratory, as consisting in action, as the statue of Patrick Henry, which seems instinct with that memorable utterance, "Give me liberty or give me death!" The inventive felicity of the design for one of the pediments of the Capitol might be unfolded as a vivid historic poem; and it requires no imagination to show that Jefferson looks the author of the Declaration of Independence. The union of original expression and skill in statuary and of ingenious constructiveness in monumental designs, which Crawford exhibited, may be regarded as a peculiar excellence and a rare distinction.

Much has been said and written of the limits of sculpture; but it is the sphere, rather than the art itself, which is thus bounded; and one of its most glorious distinctions, like that of the human form and face, which are its highest subject, is the vast possible variety within what seems, at first thought, to be so narrow a field. That the same number and kind of limbs and features should, under the plastic touch of genius, have given birth to so many and totally diverse forms, memorable for ages and endeared to humanity, is in itself an infinite marvel, which vindicates, as a beautiful wonder, the statuary's art from the more Protean rivalry of pictorial skill. If we call to mind even a few of the sculptured creations which are "a joy forever," even to retrospection,—haunting by their pure individuality the temple of memory, permanently enshrined in heartfelt admiration as illustrations of what is noble in man and woman, significant in history, powerful in expression, or irresistible in grace,—we feel what a world of varied interest is hinted by the very name of Sculpture. Through it the most just and clear idea of Grecian culture is revealed to the many. The solemn mystery of Egyptian and the grand scale of Assyrian civilization are best attested by the same trophies. How a Sphinx typifies the land of the Pyramids and all its associations, mythological, scientific, natural, and sacred,—its reverence for the dead, and its dim and portentous traditions! and what a reflex of Nineveh's palmy days are the winged lions exhumed by Layard! What more authentic tokens of Mediæval piety and patience exist than the elaborate and grotesque carvings of Albert Dürer's day? The colossal Brahma in the temple of Elephanta, near Bombay, is the visible acme of Asiatic superstition. And can an illustration of the revival of Art, in the fifteenth century, so exuberant, aspiring, and sublime, be imagined, to surpass the Day and Night, the Moses, and other statues of Angelo?—But such general inferences are less impressive than the personal experience of every European traveller with the least passion for the beautiful or reverence for genius. Is there any sphere of observation and enjoyment to such a one, more prolific of individual suggestions than this so-called limited art? From the soulful glow of expression in the inspired countenance of the Apollo, to the womanly contours, so exquisite, in the armless figure of the Venus de Milo,—from the aërial posture of John of Bologna's Mercury, to the inimitable and firm dignity in the attitude of Aristides in the Museum of Naples,—from the delicate