( 43 ) iS; 



loaded with absurd ornament, and deformed into fright- 

 ful asymmetry, in compliance with the demand of some 

 imperious mode. In later days we have the stiff, con- 

 ventionalized figures of the palaces of Nineveh and 

 the temples of Egypt, where the representation of form 

 has somewhat improved, but is too often distorted by 

 false fashion or imitation of some unnatural standard, 

 real or artistic. This is distinguished as the day of 

 archaic sculpture, which disappeared with the Etruscan 

 nation. So the drawings of the child, when he aban- 

 dons the simple lines, are stiff and awkward, and but a 

 stage nearer true representation; and how often does 

 he repeat some peculiarity or absurdity of his own ! So 

 much easier is it to copy than to conceive. 



The introduction of the action and pose of life into 

 sculpture was not known before the early days of 

 Greece, and it was there that the art was brought to 

 perfection. When art rose from its mediaeval slumber, 

 much the same succession of development may be dis- 

 covered. First, the stiff figures, with straightened limbs 

 and cylindric drapery, found in the old Northern 

 churches then the forms of life that now adorn the 

 porticoes and palaces of the cities of Germany. 



s. Rationale of the Development of Intelligence. 



The history of material development shows that the 

 transition from stage to stage of development, experi- 

 enced by the most perfect forms of animals and plants 

 in their growth from the primordial cell, is similar to the 

 succession of created beings which the geological 

 epochs produced. It also shows that the slow assump- 

 tion of main characters in the line of succession in 



