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is complete in every respect The perspective of the sculptor appears to be altogether untrue ; that of the painter can give the idea of a distance of a hundred miles beyond the picture. The sculp- tors have no aerial perspective ; they can neither represent transparent bodies nor reflections, nor bodies as lustrous as mirrors, and other translu- cent objects, neither mists nor dark skies, nor an infinity of objects which it would be tedious to enumerate. The advantage [of sculpture] is that it is provided with a better defence against the rav- ages of time, although a picture painted on thick copper and covered over with white enamel, painted with enamel colours and then put in the fire again and baked, is equally resistant. Such a work as far as permanence is concerned exceeds sculpture. They may say that where an error is made it is not easy to correct it. It is poor reason- ing to try and prove that the irremediability of an oversight renders the work more honourable. But I say to you that it will prove more difficult to mend the mind of the master who commits such errors than to repair the work he has spoilt. We know well that an experienced and compe- tent artist will not make mistakes of this kind; on the contrary, acting on sound rules, he will re- move so little at a time that his work will be brought to a successful close. Again, the sculptor, if he works in clay or wax, can remove and add, and when the work is finished it can be easily

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