siege, a battle, or taking a town by storm, there is not the smallest idea of perspective in the place, or magnitude of figures or buildings. Figures intended to be in violent action are equally destitute of joints, and other anatomical form, as they are of the balance and spring of motion, the force of a blow, or the just variety of line in the turning figure. In a word, their historical art was informing the beholder in the best manner they could, according to the rude characters they were able to make. From such a description it is easy to understand how much their attempts at historical representation were inferior to their single statues. What has been hitherto said of Egyptian sculpture, describes the ancient native sculpture of that people. After the Ptolemies, successors of Alexander the Great, were kings of Egypt, their sculpture was enlivened by Grecian animation, and refined by the standard of Grecian beauty in proportions, attitude, character, and dress. Osiris, Isis, and Orus, their three great divinities, put on the Macedonian costume; and new divinities appeared amongst them in Grecian forms, whose characteristics were compounded from materials of Egyptian, Eastern, and Grecian theology and philosophy." First, to give the visitor an idea of the magnitude of the colossi of the ancient Egyptians, let him notice from the southern extremity of the saloon the gigantic cast of the face of Sesostris, placed against the southern wall of the central saloon. This face is a cast from a colossal statue of that great king of the Egyptians, which was one of four discovered by the energetic Belzoni, in front of the great temple of Ibsamboul in Nubia. It is a sitting figure, fifty feet high. These colossal figures of the great Egyptian monarch were plentiful throughout Egypt. As the visitor stands before this fragment of a stupendous piece of sculpture, he may recall to mind the points in the career of Giovanni Battista Belzoni. First, the boy helping his father to shave the beards of the Paduans; then the young adventurer flushed with hope, jogging on his way to Rome; then the grave young man, with his vast physical development shrouded in the monkish habit; then, in 1800, when Napoleon was busy in Italy, the monkish garments thrown aside, he wanders about the continent, stared at everywhere for his size and strength of limb; then as lecturer on hydraulic machinery, and exhibitor of feats of strength at Astley's Theatre; then, under the patronage of the Pasha, constructing a machine to water some gardens on the banks of the Nile; then engaged by the English Consul in Egypt, Mr. Salt, to prosecute some of the investigations into the monuments of antiquity, upon which that gentleman was expending much time and money; and here he is for the first time recognised in his true position. Of his labours as explorer of the tombs and temples of ancient Egypt few people are ignorant. How, dressed as a Turk, he