in size, form, position, texture; and more or less of contrast even in the smallest details. Or, if we compare an Egyptian statue, seated bolt upright on a block, with hands on knees, fingers outspread and parallel, eyes looking straight forward, and the two sides perfectly symmetrical in every particular, with a statue of the advanced Greek or the modern school, which is asymmetrical in respect of the position of the head, the body, the limbs, the arrangement of the hair, dress, appendages, and in its relations to neighbouring objects, we shall see the change from the homogeneous to the heterogeneous clearly manifested. * * * * * § 51. In the co-ordinate origin and gradual differentiation of Poetry, Music, and Dancing, we have another series of illustrations. Rhythm in speech, rhythm in sound, and rhythm in motion, were in the beginning, parts of the same thing; and have only in process of time become separate things. Among various existing barbarous tribes we find them still united. The dances of savages are accompanied by some kind of monotonous chant, the clapping of hands, the striking of rude instruments: there are measured movements, measured words, and measured tones; and the whole ceremony, usually having reference to war or sacrifice, is of governmental character. In the early records of the historic races we similarly find these three forms of metrical action united in religious festivals. In the Hebrew writings we read that the triumphal ode composed by Moses on the defeat of the Egyptians, was sung to an accompaniment of dancing and timbrels. The Israelites danced and sung “at the inauguration of the golden calf. And as it is generally agreed that this representation of the Deity was borrowed from the mysteries of Apis, it is probable that the dancing was copied from that of the Egyptians on those occasions.” There was an annual dance in Shiloh on the sacred festival; and David danced before the ark. Again, in Greece the like relation is everywhere seen: the original type being there, as probably in other cases, a simultaneous chanting and mimetic representation of the life and adventures of the god. The Spartan dances were accompanied by hymns and songs; and in general the Greeks had “no festivals or religious assemblies but what were accompanied with songs and dances”—both of them being forms of worship used before altars. Among the Romans, too, there were sacred dances: the Salian and Lupercalian being named as of that kind. And even in Christian countries, as at Limoges in comparatively recent times, the people have danced in the choir in honour of a saint. The incipient separation of these once united arts from each other and from religion, was early visible in Greece. Probably diverging from dances partly religious, partly warlike, as the Corybantian, came the war-dances proper, of which there were various kinds; and from these resulted secular dances.