In viewing cursorily the statuary of the ancient Egyptians, the investigator is first struck with the colossal proportions adopted by their sculptors. In those days, when iron was unknown, and when bronze was the manufactured metal, men contrived without the use of gunpowder, to remove vast masses of granite from their quarries, and to shape these masses into the form they chose. Had they a hero to whom they would pay honour? Forthwith his figure was immortalised in colossal granite. How these vast masses, when separated from the rock, and chiselled into statues, were removed to their destination in the court, or at the entrance of a temple, is a point not satisfactorily determined. That thousands of lives were spent, year after year, in the production of the vast monuments which now lie scattered in confusion about the valley of the Nile is certain; and some men contemplate this large expenditure of human muscle upon these rude masses, with a gentle melancholy that is not altogether called for. There was a spirit in the work that made it noble. And here it is well that the visitor shall see the opinion of a man whose conclusions were based upon profound erudition in his art, on the subject of ancient Egyptian art, artistically viewed. In his lectures on sculpture, Flaxman says, "Their (the Egyptian) statues are divided into seven heads and a half, the whole weight of the figure is divided into two equal parts at the _ospubis_, the rest of the proportions are natural and not disagreeable. The principal forms of the body and limbs, as the breasts, belly, shoulders, biceps of the arm, knees, shin-bones, and feet, are expressed with a fleshy roundness, although without anatomical knowledge of detail; and in the female figures these parts often possess considerable elegance and beauty. The forms of the female face have much the same outline and progression towards beauty in the features as we see in some of the early Greek statues, and, like them, without variety of character; for little difference can be traced in the faces of Isis, in her representations of Diana, Venus, or Terra, or indeed in Osiris, although sometimes understood to be Jupiter himself, excepting that in some instances he has a very small beard, in form resembling a peg. The hands and feet, like the rest of the figure, have general forms only, without particular detail; the fingers and toes are flat, of equal thickness, little separated, and without distinction of the knuckles; yet, altogether, their simplicity of idea, breadths of parts, and occasional beauty of form, strike the skilful beholder, and have been highly praised by the best judges, ancient and modern. In their basso-relievos and paintings, which require variety of action and situation, are demonstrated their want of anatomical, mechanical, and geometrical science, relating to the arts of painting and sculpture. The king, or hero, is three times larger than the other figures; whatever is the action, whether a