The same remarks apply to painting, properly so called. This never can attain its highest development except when it is the exponent of phonetic utterances. In Greece the painter strove only to give form and substance to the more purely intellectual creation of the poet, and could consequently dispense with all but the highest elements of his art. In Egypt the picture was all in all; it had no text to refer to, and must tell the whole tale with all its adjuncts, in simple intelligible prose, or be illegible, and the consequence is that the story is told with a clearness that charms us even now. It is however, only a story; and, like everything else Turanian, however great or wonderful, its greatness and its wonder are of a lower class and less intellectual than the utterances of the other great divisions of the human family. We have scarcely the means of knowing whether any Turanian race ever successfully cultivated music to any extent. It is more than probable that all their families can and always could appreciate the harmony of musical intervals, and might be charmed with simple cadences; but it is nearly certain that a people who did not possess phonetic poetry could never rise to that higher class of music which is now carried to such a pitch of perfection, that harmonic combinations almost supply the place of phonetic expression and influence the feelings and passions to almost the same extent. There is also this further peculiarity about their arts, that they seem always more instinctive than intellectual, and consequently are incapable of that progress which distinguishes most of the works of man. At the first dawn of art in Egypt, in the age of the Pyramid builders, all the arts were as perfect and as complete as they were when the country fell under the domination of the Romans. The earliest works in China are as perfect—in some respects more so—as those of to-day; and in Mexico, so soon as a race of red savages peopled a country so densely as to require art and to appreciate magnificence, the arts sprung up among them with as much perfection, we may fairly assume, as they would have attained had they been practised for thousands of years under the same circumstances and uninfluenced by foreigners. It is even more startling to find that the arts of the savages who inhabited the south of France, on the skirts of the glacial period, are identical with those of the Esquimaux of the present day, and even at that early time attained a degree of perfection which is startling, and could hardly be surpassed by any people in the same condition of life at the present day. SCIENCES.