symbols, occasionally used in aid of their ideographic ones, were the germs of an alphabetic system. Once having become separate from hieroglyphics, alphabetic writing itself underwent numerous differentiations--multiplied alphabets were produced; between most of which, however, more or less connection can still be traced. And in each civilized nation there has now grown up, for the representation of one set of sounds, several sets of written signs used for distinct purposes. Finally, from writing diverged printing; which, uniform in kind as it was at first, has since become multiform. While written language was passing through its first stages of development, the mural decoration which contained its root was being differentiated into Painting and Sculpture. The gods, kings, men, and animals represented, were originally marked by indented outlines and coloured. In most cases these outlines were of such depth, and the object they circumscribed so far rounded and marked out in its leading parts, as to form a species of work intermediate between intaglio and bas-relief. In other cases we see an advance upon this: the raised spaces between the figures being chiselled off, and the figures themselves appropriately tinted, a painted bas-relief was produced. The restored Assyrian architecture at Sydenham exhibits this style of art carried to greater perfection--the persons and things represented, though still barbarously coloured, are carved out with more truth and in greater detail: and in the winged lions and bulls used for the angles of gateways, we may see a considerable advance towards a completely sculptured figure; which, nevertheless, is still coloured, and still forms part of the building. But while in Assyria the production of a statue proper seems to have been little, if at all, attempted, we may trace in Egyptian art the gradual separation of the sculptured figure from the wall. A walk through the collection in the British Museum shows this; while at the same time it affords an opportunity of observing the traces which the independent statues bear of their derivation from bas-relief: seeing that nearly all of them not only display that fusion of the legs with one another and of the arms with the body which is characteristic of bas-relief, but have the back united from head to foot with a block which stands in place of the original wall. Greece repeated the leading stages of this progress. On the friezes of Greek Temples, were coloured bas-reliefs representing sacrifices, battles, processions, games--all in some sort religious. The pediments contained painted sculptures more or less united with the tympanum, and having for subjects the triumphs of gods or heroes. Even statues definitely separated from buildings were coloured; and only in the later periods of Greek civilization does the differentiation of Sculpture from Painting appear to have become complete. In Christian art we may trace a parallel re-genesis.