ture (herein touched with the decadence) breathes the self-glorifying spirit of triumphant skill, rather than the overmastering idealism of the earlier patriotic and religious motives. In their pictorial composition and landscape backgrounds, also, one is tempted to discern the harmful influence of that so vaguely known school of painting that flourished in the preceding period, and to piece out by conjecture our fragmentary conceptions of its manner. It is complained that modern sculpture is too pictorial; almost as soon as the art was recovered in Italy it fell into the same error, particularly in relief work; but in Greece the profuse use of color on the marble, as ground and also for direct decoration, together with the employment of metals and jewels as additional adornment, must have brought the two arts so closely together that the transference of modes of treatment was inevitable. The striking thing is that painting, then as now, seems by its greater compass to overpower its more hampered rival.
Besides this tendency to overtax the power of expression by the weight of subject, and this pride in mere technique in close association with a humiliating imitation of a dif-
