The tendency of these remarks, especially applicable to sculpture, sufficiently proves that no reliance is to be placed on any theories of its exclusive discovery. Such opinions, however profound they may appear, are in reality the substitution of a partial view of facts, when a general law of our nature is within reach. In treating of the ancient history of sculpture, then, the legitimate objects of inquiry are, its progress, character, and degree of perfection among the different nations of antiquity. But though no claims of any single nation to have imparted the skill to others can be conceded, a very wide disparity of merit is observable, both in the final excellence attained by one people, as respects the relative acquirements of another; and likewise points of equal advance being assumed, the times past in realising this similar improvement are found to be very unequal. These facts, here most easily distinguishable, are pregnant with importance, and invest the history of this art with much of dignity and solemn interest, exhibiting the striking connexion between the intellectual and the political and moral condition of man. The diversity, in truth, is the visible impress which legislation has stamped upon human genius. Egypt has been styled the cradle of the arts; and, waiving the examination of all disputes as to priority, we prefer commencing with the history of Egyptian sculpture, since its authentic monuments carry us up to a very early date,--are numerous,--and especially, because they tend to unite the scattered lights which doubtful tradition flings over the less perfect remains of Asiatic ingenuity. In pursuing this investigation, we shall observe the following arrangement of the subject. Era of original, or native Sculpture. Era of mixed, or Greco-Egyptian Sculpture. Era of imitative Sculpture, improperly denominated Egyptian. The first or true age of Sculpture in Egypt, ascends from the invasion of Cambyses to unknown antiquity. During this period only were primitive institutions in full vigour and integrity, and public works, reflecting national taste, conducted by national talent. The two remaining eras, extending downwards through the successive dominion of the Greeks and Romans, have been added, in order to embrace the consideration of topics, which, though remotely connected therewith, have hitherto been regarded as integral parts of the subject. In examining the principles and character of this aboriginal school, there are still left two sources of judging, with sufficient accuracy, the merits of its production,--vestiges of ancient grandeur yet existing on their native site--and the numerous specimens in European cabinets. These remains may be classed under the three following divisions. Colossal statues. Groups or single figures about the natural size. Hieroglyphical and historical relievos.