In Egyptian sculpture, thus properly understood, little will be discovered of that excellence which has been attributed to its remains. Still there are to be found some first principles of true science; and these are occasionally developed with considerable beauty of detail; always with patient, but inefficient technicality. It is by no means apparent, however, that by the masters of these early ages any theory was observed; certainly the occasional refinement seems rather the result of accident or of individual superiority, than of systematic perceptions, or of transmitted precept. Their best statues have an elevation of seven hands and a half, being divided equally, the torso and limbs having the same length. These proportions are pleasing, and borrowed directly from nature; but they show nothing of that characteristic beauty of physical art, which, in the varied harmony of parts, indicates the capabilities of form. A similar principle regulates the details, which, though brought out with considerable propriety and softness, are yet without precision or anatomical knowledge, especially of internal structure,--the heads of the bones, the insertions and terminations of the muscles, never being correctly indicated. Hence the forms appear coarse and inelegant, the limbs heavy and inert, because without vigorous marking on the joints, where the deeper depressions only and the strongest projections are aimed at, not feelingly touched. The attitude, also, is constantly rectilinear, denoting that condition of the art when poverty of source limits its reach of the beautiful by the difficulties of execution. It is, in fact, the first choice of invention rendered permanent by prescriptive institutions. From the curve being thus unknown in the contour, the action is necessarily angular in its direction, unless the movement be parallel to the gravitating line of the figure. Hence the range of action and of attitude is very circumscribed; the arms either hanging close by the sides or crossed at right angles on the breast; or, as a slight variation, one is placed in each posture. Lateral movements in like manner are limited, the statue standing equally poised on both limbs, the feet not exactly opposite, one being in advance, often almost in front of the other. Whether erect, sitting, or kneeling, the action is the same: hence, little of grace or animation of movement is to be found even in the most perfect works; yet there is often to be remarked a grave and staid serenity, neither unpleasing nor devoid of interest. As in the selection of attitude, however, the artist has been guided, not by the beautiful, but by his own timidity and confined resources; so in expression, little beyond a vague and general emotion has been attempted; seldom more, indeed, than might be produced by the symmetrical arrangement of the features. These are flat, the countenance being Ethiopian, and are just sufficiently distinguished for the effect of separation; the depth of shadow is wanting to give contrast and firmness. The eyes, whether long and narrow, the peculiar characteristic of the earliest era, or more full and open, as in the Greco-Egyptian period, are nearly on the general level of the face; the nose is broad and depressed, the lips thick, and always sharp on the outer edge, though often touched with great softness and delicacy; the cheeks, chin, and ears, are large, ill made out, and without feeling. Hence, although the heads are often finished with wonderful labour, the effect is always feeble, while the whole is uniformly surmounted by harsh and disproportionate masses of drapery, overpowering the already too weak expression. The superior beauty of some of the colossal busts may perhaps be rightly attributed to their having been executed as portraits. Conventional art, even in the most skilful hands, is rarely pleasing; nature, even rudely imitated, is ever viewed with a degree of pleasure.