It is not the practise of modern Sculptors, to use the carving-tool according to the custom of the ancients: Michel Angelo was at times his own boaster, and it has been said, that he would carve a figure at once from the block, without having any model to work from. Of Michel Angelo's method of carving, our country can boast of a noble specimen, in the exquisitely-beautiful composition of the Holy Family, brought to England by Sir George Beaumont, and now erected by the worthy Baronet in his gallery in Grosvenor-square. Its effect is so imposing, that when the spectator is standing at a little distance, this inestimable treasure, though unfinished, appears more like the commencement of a chiaro-oscuro picture, than a production in any kind of stone. The style of the whole work is square and bold beyond conception, and appears as if the great artist had played with his chisel, as he did with his modelling tool: the hand of the Virgin is inimitable.
Nollekens's time was mostly employed in modelling, and in consequence of his great practice, he acquired such dexterity with his clay, that he brought a bust wonderfully forward with his thumb and finger only. Flaxman also principally employed himself in modelling; but though not so dexterous as Nollekens, he
