II. To the second class belong both the earliest and the latest works of the Egyptian chisel; yet between the worst and the best, is not to be perceived a diversity of merit corresponding to the lapse of time--a certain proof, that the principles of the art were fixed at an early period of its progress, and on grounds independent of its precepts. The first essays in sculpture in Egypt, seem to have been made upon the living rock, in the process of excavating artificial or enlarging natural caverns for the purposes of habitation or devotion, and at every period in Eastern history of sepulture. Statues thus formed, would, from the mode of their formation, not much exceed the natural size; and being afterwards detached when finished, were transferred to other situations. In imitation of these, statues were subsequently hewn, in what became the ordinary manner, from detached blocks. It is not here implied, that these two methods can be distinctly traced in their separate applications, nor that the one was superseded by the other; but simply, that the state of knowledge, and the habits of the people, render very probable the priority of the former. Hence appears an explanation of a singular fact in the history of the art, which has been the subject of much discussion. In every specimen, without exception, which can be ranked as Egyptian, a pilaster runs up the back of the figure, in whatever attitude it may be represented. The origin of a practice not natural, in an art professing to imitate nature, must be sought in some external circumstance of its early history. Now, such circumstance seems plainly discernible in works still remaining, in the excavations of Philoe, Elephantis, Silsilis, and at El Malook, in the tombs of the Theban kings. In these monuments, which are often suites of magnificent chambers hewn from the hard and white calcareous rock, numerous and beautiful remains of sculpture are preserved. These ornaments vary from simple relievos to complete statues. In the latter, the figure is never entirely detached, when placed on the surface of the wall, a posterior portion being always left adhering; while, if formed by cutting round to a recess, a pilaster behind runs up the whole height, evidently with the original view of increasing strength or of saving labour, or from certain religious notions. Subsequently, in detached statues wrought out of blocks from the same, or in part the same motives, and also in order to obtain a surface for the inscription of hieroglyphics, the aboriginal pillar was retained. Generally speaking, the workmanship here is inferior to the details of the colossal figures, although some of the finest specimens belong to this second division. The varieties, however, cannot be referred to any regular gradations of improvement, nor determinate epochas of style, as sometimes attempted. They are the result solely of individual skill in the artists, and of the views, opulence, or purposes of their employers.