theory of proportional parts can be detected different from the results thus obtainable, while those details which a refined theory would preserve, but which could not by such method be measured, are defective. We have been thus minute and critical in these investigations for two reasons: from Egypt certainly descended the first principles of improvement to Western art, while no less evidently did the Eastern world derive its entire knowledge from the same source. Consequently, in carefully examining that of the Egyptians, the best account, deduced too from monuments actually observed, has been given of Oriental Sculpture generally. Of the mighty empires, indeed, which once embraced the happiest regions of Asia and of the globe, a name, or at most a shapeless mass of ruins, alone remain. Of Jewish art, the sole memorials in existence are the sculptured transcripts on the arch of Titus. But every description in the sacred records, from the calf of the wilderness to the twelve oxen of the molten sea, or the lions of the throne of Solomon, evinces the taste of the former bondsmen of Pharaoh, and of him who was skilled in all the learning of the Egyptians; at the same time we learn that the Israelites quickly departed from the severe and simple grandeur of the parent source. Moving eastward: Baalbec's gigantic masonry is adorned with little of sculpture; the lonely Palmyra exhibits only Roman ruins, for the Tadmor of Scripture has long disappeared; the pillared Persepolis claims a remoter antiquity; but the Pelhavi and arrowheaded inscriptions, instead of hieroglyphics, show comparatively recent, and the innumerable and beautiful sculptures, display certain traits of the Grecian school. They cannot be older than Cyrus, but most probably belong to the age of his successors. The mysterious monuments of Hindustan alone seem to claim an equal or more ancient date compared with the labours we have surveyed. Their nature, also, is the same; hence there are not wanting names of highest eminence, who have maintained not only the greater antiquity of Indian art, but that thence has been derived all other, as from the parent source. This opinion has been grounded too exclusively on the dubious inferences of philology, or of mere antiquarian erudition,--dubious, at least, when applied to Sculpture. Here the subject itself ought to supply the true principles of decision; and on this point one observation will suffice. The sculpture, like the architecture, of Egypt, bears the impress of uniform simplicity; the grand lines of composition are few, accessories are sparingly introduced, and wear the same sober, massive, and unpretending character. In the works of Asiatic art, on the contrary, although presenting a general resemblance to those of Egypt, the design is neither simple nor uniform; the parts are numerous, breaking the master lines into multiplied compartments, while the style of ornament