The first attempts at sculpture were marred by the influence of modism. Thus the idols of Coban and Palenque, with human faces of some merit, are overloaded with absurd ornament, and deformed into frightful asymmetry, in compliance with the demand of some imperious mode. In later days we have the stiff, conventionalized figures of the palaces of Nineveh and the temples of Egypt, where the representation of form has somewhat improved, but is too often distorted by false fashion or imitation of some unnatural standard, real or artistic. This is distinguished as the day of archaic sculpture, which disappeared with the Etruscan nation. So the drawings of the child, when he abandons the simple lines, are stiff and awkward, and but a stage nearer true representation; and how often does he repeat some peculiarity or absurdity of his own! So much easier is it to copy than to conceive. The introduction of the action and pose of life into sculpture was not known before the early days of Greece, and it was there that the art was brought to perfection. When art rose from its mediæval slumber, much the same succession of development may be discovered. First, the stiff figures, with straightened limbs and cylindric drapery, found in the old Northern churches—then the forms of life that now adorn the porticoes and palaces of the cities of Germany. ε. Rationale of the Development of Intelligence.