the _tropical_ or symbolic: which were, however, used together in the same record. In Egypt, written language underwent a further differentiation: whence resulted the _hieratic_ and the _epistolographic_ or _enchorial_: both of which are derived from the original hieroglyphic. At the same time we find that for the expression of proper names which could not be otherwise conveyed, phonetic symbols were employed; and though it is alleged that the Egyptians never actually achieved complete alphabetic writing, yet it can scarcely be doubted that these phonetic symbols occasionally used in aid of their ideographic ones, were the germs out of which alphabetic writing grew. Once having become separate from hieroglyphics, alphabetic writing itself underwent numerous differentiations--multiplied alphabets were produced; between most of which, however, more or less connection can still be traced. And in each civilized nation there has now grown up, for the representation of one set of sounds, several sets of written signs used for distinct purposes. Finally, through a yet more important differentiation came printing; which, uniform in kind as it was at first, has since become multiform. While written language was passing through its earlier stages of development, the mural decoration which formed its root was being differentiated into Painting and Sculpture. The gods, kings, men, and animals represented, were originally marked by indented outlines and coloured. In most cases these outlines were of such depth, and the object they circumscribed so far rounded and marked out in its leading parts, as to form a species of work intermediate between intaglio and bas-relief. In other cases we see an advance upon this: the raised spaces between the figures being chiselled off, and the figures themselves appropriately tinted, a painted bas-relief was produced. The restored Assyrian architecture at Sydenham exhibits this style of art carried to greater perfection--the persons and things represented, though still barbarously coloured, are carved out with more truth and in greater detail: and in the winged lions and bulls used for the angles of gateways, we may see a considerable advance towards a completely sculptured figure; which, nevertheless, is still coloured, and still forms part of the building. But while in Assyria the production of a statue proper seems to have been little, if at all, attempted, we may trace in Egyptian art the gradual separation of the sculptured figure from the wall. A walk through the collection in the British Museum will clearly show this; while it will at the same time afford an opportunity of observing the evident traces which the independent statues bear of their derivation from bas-relief: seeing that nearly all of them not only display that union of the limbs with the body which is the characteristic of bas-relief, but have the back of the statue united from head to foot with a block which stands in place of the original wall.