Each thing that lives has its moment of self-exposition, and so has

each period of each thing, if we remove the disturbing forces of

accident. To do this is the business of ideal art, whether in images of

childhood, youth, or age, in man or in woman. Hence a good portrait is

the abstract of the personal; it is not the likeness for actual comparison,

but for recollection. This explains why the likeness of a very good

portrait is not always recognized; because some persons never abstract,

and among these are especially to be numbered the near relations and

friends of the subject, in consequence of the constant pressure and

check exercised on their minds by the actual presence of the original.

And each thing that only appears to live has also its possible position of

relation to life, as nature herself testifies, who, where she cannot be,

prophesies her being in the crystallized metal, or the inhaling plant.

The charm, the indispensable requisite, of sculpture is unity of effect.

But painting rests in a material remoter from nature, and its compass is

therefore greater. Light and shade give external, as well internal, being

even with all its accidents, while sculpture is confined to the latter. And

here I may observe that the subjects chosen for works of art, whether in

sculpture or painting, should be such as really are capable of being

expressed and conveyed within the limits of those arts. Moreover, they

ought to be such as will affect the spectator by their truth, their beauty,

or their sublimity, and therefore they may be addressed to the judgment,

the senses, or the reason. The peculiarity of the impression which they

may make may be derived either from color and form, or from

proportion and fitness, or from the excitement of the moral feelings; or

all these may be combined. Such works as do combine these sources of

effect must have the preference in dignity.

Imitation of the antique may be too exclusive, and may produce an

injurious effect on modern sculpture: - first, generally, because such an

imitation cannot fail to have a tendency to keep the attention fixed on

externals rather than on the thought within;-secondly, because,

accordingly, it leads the artist to rest satisfied with that which is always