The Sun.
London, England, 1851-09-03 00:00:00

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the sum paid upon their inveatmet
or on mortgage, and which is general.
much larder sum than the profits of the
tent would come to. Now that ought
allowed, because the investments in the funds, or
upon mortgage, are investments upon a number of
spreading over a long period, perhaps 150
in fact they are taking from that
is a cepital and deducting from their annual
yearsyre,hajies firh t
s:
so that

[PRICE SD.

(To be continued.)

THE GREEK SLAVE," THE
" VEILED VESTAL," AND THE " AMAZON."
It is a hopeful sign of intellectual advancement,
that the sculpture has occupied so large a share of
attention. The specimens that have acquired the
most notoriety are not, perhaps, the most deserving of
it ; but the fact that all classes of visitors examine
the sculpture with interest, is a gratifying evidence
of improved taste. Everybody makes it a point
to look at the " Amazon," the " Greek Slave,"
and the " Veiled Vestal." There is great merit
in each of them, but it is associated with faults
which hasty admiration has entirely overlooked. The
power of the Amazon, the strength of expression, the
agony of the horse—a grand and terrible mixture of
dismay and desperation—are triumphant proofs of the
artist's genius ; and it is therefore all the more to be
regretted that so noble a work should be marred by
one or two very obvious blemishes. Observe the
attitude of the Amazon. She has lost her seat,
and is thrown back in an impossible position on
haunchesmthaekeitcoilup of the horse. Turn to the back of
a
the statue, and look at the horse's tail. It is cast up
lashing the air, as if the creature were in a state of
high exultation, instead of being drawn in between
its legs by the effort of terror, which would inevitably
fect study; but enough remains behind to justify the
highest encomiums. We are mach perplexed by the
theall its
merits muscles.ef the T
work faults
statue of the Greek Slave. In what respect is it
Greek ? And is a manacle upon a delicate wrist
hese
a sa
per_re
deductions from
the only means sculpture possesses of expressing the
sorrow and anguish of slavery The fact is, there
is no meaning whatever in the face, which has any-
thing in the world but Greek or slavery written on it;
and if the head and manacles were lopped off, the rest
of the figure wouldbe very beautiful us a study of form.
It is full of grace from the shoulders down, espe-
cially at the side and back ; but the artist has
utterly failed in the attempt to convey any-
thing more. Of the "Veiled Vestal," we sup-
nose it must be allowed to be a curious and successful
example of skilful manipulation. The veil is cleverly
executed, and looks quite gauzy
and transparent at
a proper distance; but it bears about the same relation
to high art as Paga s performance on a single string;
it merely shows a difficulty overcome without any re-
suit. The vulgar may wonder at it, but the educated
grieve. At the best, it is no more than what is popu-
larly, but not very correctly, called a trick, which is a
sort of ingenuity that exhausts your admiration the mo-
ment you detect it. There is not much risk of judgment
in according to the Virginias of M'Dowell the first place
in the Exhibition. That niagnificent workis weliknown
and fortunately occupies so prominent a position in
the transept that it cannot escape the attention it de-
serves. Awarding to Kiss, and Power, and Monti,
and the rest of the foreign and native contributors the
full measure of their deserts (and although there are
not many striking specimens in the Exhibition, there
are a few of great merit), we believe that the artists
themselves would agree with us in the high estimate
we place upon the passionate energy and soft beauty
which are so wondrously blended in this elaborate
work, and which carry the resources of art to the
height of their illustrative power.—Frasees Ma-
gazine.

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