to the cheek-bones, and from the cheek-bones to the cheek, the remains of the mouth and chin,—­all this testifies to an extraordinary fineness of chiselling.  The entire face has a solemn serenity and a sovereign goodness.”  Leaving aside all consideration of the artistic merits of other Egyptian colossi,—­those at Memphis, Thebes, Karnac and Luxor, with the twin marvels of Amenophis-Memnon—­we turn to the most famous colossus of antiquity, that at Rhodes, only to find that we have even less evidence on which to base an opinion as to its quality than is available in the case of the numerous primitive works of Egypt and of India.  We know its approximate dimensions, the material of which it was made, and that it was overthrown by an earthquake, but there seems to be reason to doubt its traditional attitude, and nothing is known as to what it amounted to as a work of art, though it may be presumed that, being the creation of a Greek, it had the merits of its classic age and school.  Of the masterpieces of Phidias it may be said that they were designed for the interiors of Temples and were adopted with consummate art to the places they occupied; they have been reconstructed for us from authentic descriptions, and we are enabled to judge concerning that majestic and ponderous beauty which made them the fit presentments of the greatest pagan deities.  I need say nothing of the immortal statues by Michael Angelo, and will therefore hasten to consider the modern outdoor colossi which now exist in Europe—­the St. Charles Borromeo at Arona, Italy, the Bavaria at Munich, the Arminius in Westphalia, Our Lady of Puy in France.  The St. Charles Borromeo, near the shore of Lake Maggiore, dates from 1697, and is the work of a sculptor known as Il Cerano.  Its height is 76 feet, or with its pedestal, 114 feet.  The arm is over 29 feet long, the nose 33 inches, and the forefinger 6 feet 4 inches.  The statue is entirely of hammered copper plates riveted together, supported by means of clamps and bands of iron on an interior mass of masonry.  The effect of the work is far from being artistic.  It is in a retired spot on a hill, a mile or two from the little village of Arona.  The Bavaria, near Munich, erected in 1850, is 51 feet high, on a pedestal about 26 feet high, and is the work of Schwanthaler.  It is of bronze and weighs about 78 tons.  The location of this monstrous lump of metal directly in front of a building emphasizes its total want of sculptural merit, and makes it a doubly lamentable example of bad taste and bombast.  The Arminius colossal, on a height near Detmold in Westphalia, was erected in 1875, is 65 feet high, and weighs 18 tons.  The name of the sculptor is not given by any of the authorities consulted, which is perhaps just as well.  This statue rests on “a dome-like summit of a monumental structure,” and brandishes a sword 24 feet long in one hand.  The Virgin of Puy is by Bonassieux, was set up in 1860, is 52 feet high, weighs 110 tons, and stands on a cliff some 400 feet