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such an artist the simple proportions of the limbs, and the nature of movements and attitudes, are all that is essential, and there it ends, and shows to the eye what it is, and it does not cause the spectator to wonder at its nature, as painting does, which in a plane by its science shows vast coun- tries and far-off horizons.

36.

The only difference between painting and sculp- ture is that the sculptor accomplishes his work with the greater bodily fatigue, and the painter with the greater mental fatigue. This is proved by the facft that the sculptor in practising his art is obliged to exert his arms and to strike and shat- ter the marble or other stone, which remains over and above what is needed for the figure which it contains, by manual exercise, accompanied often by profuse sweating, mingled with dust and transforming itself into dirt; and his face is plas- tered and powdered with the dust of the marble, so that he has the appearance of a baker, and he is covered with minute chips, and it appears as if snow had fallen on him, and his dwelling is dirty and full of chips and the dust of stone. The contrary occurs in the case of the painter, — we are speaking of excellent painters and sculptors, — since the painter with great leisure sits before his work well clothed, and handles the light brush dipped in lovely colours. He wears

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