It is this sense of nature or truth which ought more particularly to be cultivated by the professors of art; and it may be observed that many wise and learned men, who have accustomed their minds to admit nothing for truth but what can be proved by mathematical demonstration, have seldom any relish for those arts which address themselves to the fancy, the rectitude and truth of which is known by another kind of proof:  and we may add that the acquisition of this knowledge requires as much circumspection and sagacity, as to attain those truths which are more open to demonstration.  Reason must ultimately determine our choice on every occasion; but this reason may still be exerted ineffectually by applying to taste principles which, though right as far as they go, yet do not reach the object.  No man, for instance, can deny that it seems at first view very reasonable, that a statue which is to carry down to posterity the resemblance of an individual should be dressed in the fashion of the times, in the dress which he himself wore:  this would certainly be true if the dress were part of the man.  But after a time the dress is only an amusement for an antiquarian; and if it obstructs the general design of the piece, it is to be disregarded by the artist.  Common sense must here give way to a higher sense.

In the naked form, and in the disposition of the drapery, the difference between one artist and another is principally seen.  But if he is compelled to the modern dress, the naked form is entirely hid, and the drapery is already disposed by the skill of the tailor.  Were a Phidias to obey such absurd commands, he would please no more than an ordinary sculptor; since, in the inferior parts of every art, the learned and the ignorant are nearly upon a level.

These were probably among the reasons that induced the sculptor of that wonderful figure of Laocoon to exhibit him naked, notwithstanding he was surprised in the act of sacrificing to Apollo, and consequently ought to be shown in his sacerdotal habits, if those greater reasons had not preponderated.  Art is not yet in so high estimation with us as to obtain so great a sacrifice as the ancients made, especially the Grecians, who suffered themselves to be represented naked, whether they were generals, lawgivers, or kings.

Under this head of balancing and choosing the greater reason, or of two evils taking the least, we may consider the conduct of Rubens in the Luxembourg gallery, of mixing allegorical figures with representations of real personages, which, though acknowledged to be a fault, yet, if the artist considered himself as engaged to furnish this gallery with a rich and splendid ornament, this could not be done, at least in an equal degree, without peopling the air and water with these allegorical figures:  he therefore accomplished that he purposes.  In this case all lesser considerations, which tend to obstruct the great end of the work, must yield and give way.