come)--is that of an immortal Spirit, conversing with its God. And as if to mark more forcibly the fact of continuous progress towards perfection, it is observable that although each of the three arts peculiarly reflects and characterizes one of the three epochs, each art of later growth has been preceded in its rise, progress, and decline, by an antecedent correspondent development of its elder sister or sisters--Sculpture, in Greece, by that of Architecture--Painting, in Europe, by that of Architecture and Sculpture. If Sculpture and Painting stand by the side of Architecture in Egypt, if Painting by that of Architecture and Sculpture in Greece, it is as younger sisters, girlish and unformed. In Europe alone are the three found linked together, in equal stature and perfection."--Vol. i, pp. xii.--xiv. * * * 28. The reader must, we think, at once perceive the bold fallacy of this forced analogy--the comparison of the architecture of one nation with the sculpture of another, and the painting of a third, and the assumption as a proof of difference in moral character, of changes necessarily wrought, always in the same order, by the advance of mere mechanical experience. Architecture must precede sculpture, not because sense precedes intellect, but because men must build houses before they adorn chambers, and raise shrines before they inaugurate idols; and sculpture must precede painting, because men must learn forms in the solid before they can project them on a flat surface, and must learn to conceive designs in light and shade before they can conceive them in color, and must learn to treat subjects under positive color and in narrow groups, before they can treat them under atmospheric effect and in receding masses, and all these are mere necessities of practice, and have no more connection with any divisions of the human mind than the equally paramount necessities that men must gather stones before they build walls, or grind corn before they bake bread. And that each following nation should take up either the same art at an advanced stage, or an art altogether more difficult, is nothing but the necessary consequence of its subsequent elevation and civilization. Whatever nation had succeeded Egypt in power and knowledge, after having had communication with her, must necessarily have taken up art at the point where Egypt left it--in its turn delivering the gathered globe of heavenly snow to the youthful energy of the nation next at hand, with an exhausted "a vous le de!" In order to arrive at any useful or true estimate of the respective rank of each people in the scale of mind, the architecture of each must be compared with the architecture of the other--sculpture with sculpture--line with line; and to have done this broadly and with a surface glance, would have set our author's theory on firmer foundation, to outward aspect, than it now rests upon. Had he compared the accumulation of the pyramid with the proportion of the