The Sphynx of Egypt is nearly covered up by the sand of the desert. The neck of the Sphynx is partly cut across, not, as I am assured by Mr. Huxley, by ordinary weathering, but by the eroding action of the fine sand blown against it. In these cases Nature furnishes us with hints which may be taken advantage of in art; and this action of sand has been recently turned to extraordinary account in the United States. When in Boston, I was taken by my courteous and helpful friend, Mr. Josiah Quincey, to see the action of the sand-blast. A kind of hopper containing fine silicious sand was connected with a reservoir of compressed air, the pressure being variable at pleasure. The hopper ended in a long slit, from which the sand was blown. A plate of glass was placed beneath this slit, and caused to pass slowly under it; it came out perfectly depolished, with a bright opalescent glimmer, such as could only be produced by the most careful grinding. Every little particle of sand urged against the glass, having all its energy concentrated on the point of impact, formed there a little pit, the depolished surface consisting of innumerable hollows of this description. But this was not all. By protecting certain portions of the surface, and exposing others, figures and tracery of any required form could be etched upon the glass. The figures of open iron-work could be thus copied; while wire-gauze placed over the glass produced a reticulated pattern. But it required no such resisting substance as iron to shelter the glass. The patterns of the finest lace could be thus reproduced; the delicate filaments of the lace itself offering a sufficient protection. All these effects have been obtained with a simple model of the sand-blast devised by my assistant. A fraction of a minute suffices to etch upon glass a rich and beautiful lace pattern. Any yielding substance may be employed to protect the glass. By diffusing the shock of the particle, such substances practically destroy the local erosive power. The hand can bear, without inconvenience, a sand-shower which would pulverise glass. Etchings executed on glass with suitable kinds of ink are accurately worked out by the sandblast. In fact, within certain limits, the harder the surface, the greater is the concentration of the shock, and the more effectual is the erosion. It is not necessary that the sand should be the harder substance of the two; corundum, for example, is much harder than quartz; still, quartz-sand can not only depolish, but actually blow a hole through a plate of corundum. Nay, glass may be depolished by the impact of fine shot; the grains in this case bruising the glass, before they have time to flatten and turn their energy into heat.