All early works of art throughout Europe were religious in subject--represented Christs, crucifixions, virgins, holy families, apostles, saints. They formed integral parts of church architecture, and were among the means of exciting worship; as in Roman Catholic countries they still are. Moreover, the sculptured figures of Christ on the cross, of virgins, of saints, were coloured; and it needs but to call to mind the painted madonnas still abundant in continental churches and highways, to perceive the significant fact that Painting and Sculpture continue in closest connection with each other where they continue in closest connection with their parent. Even when Christian sculpture became differentiated from painting, it was still religious and governmental in its subjects--was used for tombs in churches and statues of kings; while, at the same time, painting, where not purely ecclesiastical, was applied to the decoration of palaces, and besides representing royal personages, was mostly devoted to sacred legends. Only in recent times have painting and sculpture become quite separate and mainly secular. Only within these few centuries has Painting been divided into historical, landscape, marine, architectural, genre, animal, still-life, &c.; and Sculpture grown heterogeneous in respect of the variety of real and ideal subjects with which it occupies itself. Strange as it seems then, we find that all forms of written language, of Painting, and of Sculpture, have a common root in the politico-religious decorations of ancient temples and palaces. Little resemblance as they now have, the landscape that hangs against the wall, and the copy of the _Times_ lying on the table, are remotely akin. The brazen face of the knocker which the postman has just lifted, is related not only to the woodcuts of the _Illustrated London News_ which he is delivering, but to the characters of the _billet-doux_ which accompanies it. Between the painted window, the prayer-book on which its light falls, and the adjacent monument, there is consanguinity. The effigies on our coins, the signs over shops, the coat of arms outside the carriage panel, and the placards inside the omnibus, are, in common with dolls and paper-hangings, lineally descended from the rude sculpture-paintings in which ancient peoples represented the triumphs and worship of their god-kings. Perhaps no example can be given which more vividly illustrates the multiplicity and heterogeneity of the products that in course of time may arise by successive differentiations from a common stock.