Deities, kings, attendants, winged figures and animals, are severally depicted in like positions, holding like implements, doing like things, and with like expression or non-expression of face.  If a palm-grove is introduced, all the trees are of the same height, have the same number of leaves, and are equidistant.  When water is imitated, each wave is a counterpart of the rest; and the fish, almost always of one kind, are evenly distributed over the surface.  The beards of the kings, the gods, and the winged figures, are every where similar:  as are the names of the lions, and equally so those of the horses.  Hair is represented throughout by one form of curl.  The king’s beard is quite architecturally built up of compound tiers of uniform curls, alternating with twisted tiers placed in a transverse direction, and arranged with perfect regularity; and the terminal tufts of the bulls’ tails are represented in exactly the same manner.  Without tracing out analogous facts in early Christian art, in which, though less striking, they are still visible, the advance in heterogeneity will be sufficiently manifest on remembering that in the pictures of our own day the composition is endlessly varied; the attitudes, faces, expressions, unlike; the subordinate objects different in size, form, position, texture; and more or less of contrast even in the smallest details.  Or, if we compare an Egyptian statue, seated bolt upright on a block with hands on knees, fingers outspread and parallel, eyes looking straight forward, and the two sides perfectly symmetrical in every particular, with a statue of the advanced Greek or the modern school, which is asymmetrical in respect of the position of the head, the body, the limbs, the arrangement of the hair, dress, appendages, and in its relations to neighbouring objects, we shall see the change from the homogeneous to the heterogeneous clearly manifested.

In the co-ordinate origin and gradual differentiation of Poetry, Music and Dancing, we have another series of illustrations.  Rhythm in speech, rhythm in sound, and rhythm in motion, were in the beginning parts of the same thing, and have only in process of time become separate things.  Among various existing barbarous tribes we find them still united.  The dances of savages are accompanied by some kind of monotonous chant, the clapping of hands, the striking of rude instruments:  there are measured movements, measured words, and measured tones; and the whole ceremony, usually having reference to war or sacrifice, is of governmental character.  In the early records of the historic races we similarly find these three forms of metrical action united in religious festivals.  In the Hebrew writings we read that the triumphal ode composed by Moses on the defeat of the Egyptians, was sung to an accompaniment of dancing and timbrels.  The Israelites danced and sung “at the inauguration of the golden calf.  And as it is generally agreed that this representation of the Deity was borrowed