Classical Theology.—Xxxv.

The answer to that prayer was full of deep meaning , gloriously complete , and terribly consrunmated : — " It came to pass that nig ht that the angel of tho Lord ivent out , and smote in the camp of the Assyrian an hundred fourscore and five thousand . "

" For the angel of death spread his ivings on the blast , And breathed in the face ofthe foe as he pass'd ; And the eyes of the sleepers waxed deadly and chill , And their hearts but once heaved , and for ever grew still . " As Ave reckon the numbers , the greater part of this Assyrian encampment must have perished ; and though Sennacherib Avas not amongst these heaps of the dead ,

he ivas doomed only to return to his palace at Nineveh to suffer the pangs of a more painful and significant death , as is especially manifest in the last verse of the chapter which ive have taken in connection with our subject , generally as treating of Diana , who Avas the Dea Syria particularly . The verse is as folloAvs : — "And it came to pass , as he ivas Avorshipping in tho house of Nisroch his god , that Adrammelech and Sharezer his sons smote him ivith the SAvord . "

In that part of Hezekiah ' s prayer AA * hich describes the vainglorious intolerance inveterately brought about in heathenish Avorship , he says : — " Of a truth , Lord , the kings of Assyria have destroyed the nations and their lands , and have cast their gods into the fire : for they Avere not gods , but tho work of men ' s hands , ivood and stone ; therefore they have destroyed them . " The same characteristics are found in later times .

Thus , Ave read in Acts xix : — "A certain man , named Demetrius , a silversmith , ivhich made silver shrines for Diana , brought no small gain unto the craftsmen , ivhom he called together with the workmen of like occupation , and said : Sirs , ye know that by this craft we have our Avealth . Moreover ye seo and hear , that not alone at Ephesus , but almost throughout all Asia , this

Paul hath persuaded and turned away much people , saying they be no gods which are made ivith hands . So that not only this our craft is in danger to be set at nought , but also that the temple of the goctdess Diana should be despised , ancl her magnificence should be destroyed whom all Asia ancl the world worshippeth . And when they heard these sayings , they were full of wrath , and cried , out , saying , Great is Diana of thc Ephesians . "

Stray Thoughts On The Origin And Progress Of The Fine Arts.

STRAY THOUGHTS ON THE ORIGIN AND PROGRESS OF THE FINE ARTS .

Bx DlACORAS . Regarding sculpture as the primogenitor of the fine arts , I will offer a feiv remarks on the most ancient existing examples . Among the monuments of the ancient Egyptians Ave have specimens of their rudest , as Avell as most perfectivorkmanshipAvhich Avould seem

, , to warrant us in coining to the conclusion that Ave have specimens of their earliest as Avell as latest productions . The peculiar institutions of the Egyptians were antagonistic to all innovations or improvements , so that for an unknOAvn period , up to the conquest of Egypt by Cambyses , their architecture and sculpture is exceedingly

rude and tasteless . The lines forming the general contour of their human figures are entirel y destitute of the graceful curves of nature ; they are angular and projecting , ancl the attitudes and positions of the figures ' stiff ancl unnatural ; in sitting figures the legs are parallel , the feet ivedged togetherand the arms fastened to the

, sides ; but in female figures the left arm is folded across the breast , the outline of the muscles ancl bones is barely discernible , the eyebrows are sunk , and the eyes flat and staring , or looking obliquely , cheek bones high , chin

small and pointed , ears placed far higher than in nature , feet large and fiat , drapery is almost absent , and the specimens that do sometimes occur only serve to sheAv the ivant of skill in the artist ivho executed it . The existing specimens of Egyptian sculpture consist of colossal statuesgroups or single figuresabout the

, , natural size , and hieroglyphical and historical "bassorelievos . The Egyptians not only carefully finished all their productions with the chisel , but also scrupulousl y polished each and all of them . Even those on the summits of obelisks , ivhich could onl y be viewed at a great distancewere finished Avith as much assiduity and care

, as if they were to be subjected to close inspection ; and as their Avorks are generally executed in granite , or basaltic stones , of i * ery close and hard texture , Ave must admire the patient perseverance of the artists . The numerous colossal statues in ancient Egypt , as recorded in history , Avould seem incredibleivere it not amply

, proven by existing remains : these enormous ivorks have struck every beholder Avith Avonder and aive . The Egyptians evidently studied quantity in their ivorks , regarding quality as only a secondary consideration ; they ,

Avith patient toil and a total disregard of time and labour , have left Avorks , ivhich for magnitude and durability have never heen equalled . Some of their statues are hewn from the living rock , and left adhering to the natural bed , as the celebrated Sphynx near the Pyramids of Ghizeli ; others appear to hai * e been built up of huge blocks of stoneand then heiATi into shape ;

, but the majority are formed of one enormous block . Numerous figures of the colossal sphynx seem to have been ranged on opposite sides , forming an approach or avenue to the great temples . The human cohosh were isolated , ancl ivere probably regards' ] as objects of worship . The largest- statues BOAY known are in a sitting nosture j

the hei ght of each figure , exclusive of the lower plinth of the throne , is 50 feet , the material red granite , the head in each figure is looking straight forward , the arms are pressed close to the sides , the palms aud forearms extended ancl resting upon the thighs , the loiver extremities perpendicular and apart . This posture is characteristic of the entire scul pture of the Egyptians , and conveys no sentiment of grace or ease ; yet in these gigantic labours ive discover more of the sublime than arises from mere

vastness ; they are endued with a majestic repose , ivith a grand and solemn tranquility , Avhich awes without astonishing , and Avhile they exhibit the greatest perfection to Avhich Egyptian art lias attained , Ave are struck by fitful approaches to truth and nature . The surface of many of the ancient Egyptian structures ivere covered with relievos ; it is in thesewhere variety of action or

, attitude is required , the Egyptians betray their deficiency in the knoivledge of anatomy , mechanics , and geometry . In all these scul ptures the king or hero is represented three times larger than an 3 * of the other figures . Whatever is the subject—dragging a colossal statue , measuring corn or oilor taking a town by storm—they show not

, the smallest idea of perspective , or the magnitude of figures or buildings ; figures in motion are destitute of joints and all anatomical form , asivell as graceful balance ancl spring . In some of the historical las reliefs , it is true , there is some approach to the rudiments of higher art , ivith less conventionalism , ancl more freedom of

imagination . The hero of the piece is always represented in the bloom of youth , and there is something akin to beauty and grandeur of conception in his figure , as represented on some of the monuments , yet these excellencies are completely thrown away by the absurdity of representing him at least double the stature of those surrounding him . It has been attempted to class Egyptian sculpture into