lions in red granite, brought to England by the late Duke
of Northumberland, may be considered as remarkably good specimens of
Egyptian art, as applied to the delineation of animal forms. They
evince a considerable knowledge of anatomy in the strongly-marked
delineation of the muscular development. The form also is natural and
easy, thus admirably expressing the idea of strength in a state of
repose. They were sculptured in the reign of Amunoph III. The
representations of the sacred animals, the cynocephalus, the lion, the
jackal, the ram, etc., are frequently to be met with in Egyptian
sculpture.

_Greek._--The stages of the cycle of development of the art of
sculpture in Greece may be given in five distinct periods or epochs,
naming these, for greater convenience, chiefly from the name of the
principal artist whose style prevailed at that period.

I. The Daedalean, or early ( -580 B.C.)
II. The AEginetan, or archaic (580-480 B.C.)
III. The Phidian, or the grand (480-400 B.C.)
IV. The Praxitelean, or the beautiful (400-250 B.C.)
V. The Decline (250- )

Prior to the age of Daedalus, there was an earlier stage in the
development of art, in which the want of art, which is peculiar to
that early stage, was exhibited in rude attempts at the
representation of the human figure, for similar and almost identical
rude representations are attempted in the early stages of art in all
countries; as the early attempts of children are nearly identical in
all ages. The presence of a god was indicated in a manner akin to the
Fetichism of the African, by the simplest and most shapeless objects,
such as unhewn blocks of stone and by simple pillars or pieces of
wood. The first attempt at representation consisted in fashioning a
block of stone or wood into some semblance of the human form, and this
rude attempt constituted a divinity. Of this primitive form was the
Venus of Cyprus, the Cupid of Thespiae; the Juno of Argos was fashioned
in a similar rude manner from the trunk of a wild pear tree. These
attempts were thus nothing more than shapeless blocks, the head, arms,
and legs scarcely defined. Some of these wooden blocks are supposed to
have been, in a coarse attempt at imitation, furnished with real hair,
and to have been clothed with real draperies in order to conceal the
imperfection of the form. The next step was to give these sha