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or from the best examples he can procure of the works of others. 

It is remarkable how few Painters have been noted for the excellence of their Copies - because very few Painters have had the industry to learn - and yet the good Copies that have been made from the most excellent pictures are often mistaken for, and valued as, [[strikethrough]] the [[/strikethrough]] Originals themselves. ‡ 

In the present state of the Art of Sculpture, or more properly the "Plastic Art," it would be considered absurd in any Amateur to recommend the Student to make anything but Originals in Marble, when the merit of the Marble statue depends upon its being a good Copy from a Plaster Cast which has been moulded from the Original Clay Model, itself studied from Nature and perhaps with Colateral aids from other works of Art. 

Of this there are many remarkable examples - The Two Portraits by Raphael of Leo the 10th one in the National Gallery in Naples; the other in the Ducal Palace at Florence - both claiming originality: also 9 Portraits of Urban the 7th in various Galleries of Europe - all copied by the pupils of Raphael from [[strikethrough]] the [[/strikethrough]] his Original drawing in black & white Chalk [[strikethrough]] by Raphael [[/strikethrough]] which is in the Corsini palace at Florence, *[[strikethrough]] as well as [[/strikethrough]] besides other innumerable instances.

X. "There is no difference," says Bardwell [[strikethrough]] who was celebrated for the excellence of his Copies of Rubens and Vandyke,  [[/strikethrough]] "in the method of working between copying & painting from Nature. Had I known, at my first selling out, as much as I have since learned, I should have approached much nearer perfection

*Some of which Copies were retouched by Raphael himself