Before passing to other classes of facts, it should be observed that the evolution of the homogeneous into the heterogeneous is displayed not only in the separation of Painting and Sculpture from Architecture and from each other, and in the greater variety of subjects they embody; but it is further shown in the structure of each work. A modern picture or statue is of far more heterogeneous nature than an ancient one. An Egyptian sculpture-fresco represents all its figures as on one plane—that is, at the same distance from the eye; and so is less heterogeneous than a painting that represents them as at various distances from the eye. It exhibits all objects as exposed to the same degree of light; and so is less heterogeneous than a painting which exhibits different objects, and different parts of each object, as in different degrees of light. It uses scarcely any but the primary colours, and these in their full intensity; and so is less heterogeneous than a painting which, introducing the primary colours but sparingly, employs an endless variety of intermediate tints, each of heterogeneous composition, and differing from the rest not only in quality but in intensity. Moreover, we see in these earliest works a great uniformity of conception. The same arrangement of figures is perpetually reproduced—the same actions, attitudes, faces, dresses. In Egypt the modes of representation were so fixed that it was sacrilege to introduce a novelty; and indeed it could have been only in consequence of a fixed mode of representation that a system of hieroglyphics became possible. The Assyrian bas-reliefs display parallel characters. Deities, kings, attendants, winged-figures and animals, are severally depicted in like positions, holding like implements, doing like things, and with like expression or non-expression of face. If a palm-grove is introduced, all the trees are of the same height, have the same number of leaves, and are equidistant. When water is imitated, each wave is a counterpart of the rest; and the fish, almost always of one kind, are evenly distributed over the surface. The beards of the kings, the gods, and the winged-figures, are everywhere similar; as are the manes of the lions, and equally so those of the horses. Hair is represented throughout by one form of curl. The king’s beard is quite architecturally built up of compound tiers of uniform curls, alternating with twisted tiers placed in a transverse direction, and arranged with perfect regularity; and the terminal tufts of the bulls’ tails are represented in exactly the same manner. Without tracing out analogous facts in early Christian art, in which, though less striking, they are still visible, the advance in heterogeneity will be sufficiently manifest on remembering that in the pictures of our own day the composition is endlessly varied; the attitudes, faces, expressions, unlike; the subordinate objects different