It is because Mesopotamian art never studied at this elementary school, and never mastered these foundations of all plastic skill, that such of its productions as border on what we call the industrial arts, never shook themselves clear of a certain heaviness of hand and a certain monotony of effect. These defects are easily accounted for; a robe--and especially a straight and clinging robe like that of Assyria--hides all refinements of modelling, and all the grace of those undulating lines by which the human form is bounded. If, as in Egypt, the sculptor and painter had made all the beauties of the human figure, and especially the graceful contours of woman, familiar to every eye, artizans would have known how to give more subtle and agreeable forms to their creations, and would have been compelled to give them. A knowledge of the nude would have enabled them to make countless variations on a single theme, and to use it again and again without danger of tiring the eye. All robed figures have a certain mutual resemblance, however little there may be in common in their movement and costume. In at least one Assyrian relief we have been obliged to leave it in doubt as to whether a life-size figure is that of a god or a goddess. On the other hand, two nude figures may be almost identical in attitude and gesture, but even a careless eye will not confound one with the other. In one the bony framework and muscular development will be more strongly marked than in the other. Sex, age, habits of work or repose, will leave their unmistakable marks upon the fleshy contours. The artist’s difficulties begin when he attempts to record all the shades of form, and, no doubt, he can never be successful in such an attempt until he has accumulated no little stock of professional knowledge and skill. But it is something when he begins to perceive those shades, and to understand their interest and value. In endeavouring to reproduce them he feels his hand become lighter and more adroit; in time he will set himself to imitate nature in all her marvellous variety, and in doing so he will be led to perceive how she never repeats herself, how she gives to each individual his own distinctive physiognomy at the same time that she never confuses the identity of type or species. Put on his mettle by this discovery, he will become more ingenious and more inventive every day. Having learnt how scarcely perceptible variations of line and proportion suffice to distinguish between one being and another, he will accustom himself to give variety to his creations by the same process; however slight the changes may be between his successive productions, each will be a new and unique creation in the fullest sense of the word. Thenceforward the limits of his art will be as wide as those of nature herself. Once it has entered upon the road thus pointed out, it may indeed encounter certain difficulties of execution, but it need fear no longer a relapse into the worst of