We must omit with regret, though not unadmired, the names of living English artists. To their honor be it remarked, that, at this moment, in rectitude and sobriety of precept, in the walk which has hitherto been followed, where nothing is yet to be unlearned, and which must infallibly conduct to higher perfection, no school in Europe can boast of happier auspices, of more vigorous practice, nor of sounder principles, than the British school of Sculpture. In Italy, the numerous--we may say universal--imitators of Canova, appear to be following, with exaggerated effect, the only failing towards which his style inclines--elaborate grace. In Germany, the art languishes for want of encouragement. Sculpture is more pre-eminently the nursling of freedom. The French sculptors are, at the present time, more distinguished for science than for feeling or invention. They want individuality of character in their works; the symmetry and proportions, the mechanical art of antiquity, their chisel has transferred,--but the sentiment, the essence which unites art with nature, which breathes into Grecian statuary the breath of life, has escaped. It is a singular fact, that from the school formed under the empire, while the most valued treasures of existing art were collected in the French capital, not a sculptor, hardly one artist of eminence, has issued. The cause is plain. These monuments were torn from their resting places by the hand of violence; they were viewed by a vain and mistaken people as the trophies of victory; but they were never venerated with that enthusiastic yet humble devotion, with which the disciple regards the sources of knowledge. During a shorter period, how different have been the effects of our own unsullied and bloodless collection. Since the public exposition of the Phidian Marbles, in particular, every department of taste has been improved, and every artist has been ready to exclaim, with the late venerable president, that till he saw these works, he was ignorant how much of his art he had yet to learn. Let the British sculptor, then, continue in the same principles as have heretofore guided his practice; let him follow nature, and these the noblest remains of art in existence, and he must excel. Sculpture seems especially calculated to flourish amongst us. The grave and manly character of the art agrees with the tone of national genius, harmonizes with our free institutions, and may find in our history sources of the brightest inspiration.