In the plaster-cast, from this clay model, the beauty of the statue strangely disappears, to shine forth again with pure white radiance, in the precious marble of Carrara.

Works in all these stages of advancement, and some with the final touch upon them, might be found in Kenyon's studio.
Here might be witnessed the process of actually chiselling the marble, with which (as it is not quite satisfactory to think) a sculptor in these days has very little to do.

In Italy, there is a class of men whose merely mechanical skill is perhaps more exquisite than was possessed by the ancient artificers, who wrought out the designs of Praxiteles; or, very possibly, by Praxiteles himself.

Whatever of illusive representation can be effected in marble, they are capable of achieving, if the object be before their eyes.

The sculptor has but to present these men with a plaster-cast of his design, and a sufficient block of marble, and tell them that the figure is imbedded in the stone, and must be freed from its encumbering superfluities; and, in due time, without the necessity of his touching the work with his own finger, he will see before him the statue that is to make him renowned.