We turn now to consider the art of ancient Egypt as it has now come to be known by the accumulation of specimens of it during the last century. Egyptian art has been somewhat slow in coming to its own in the judgment of the world, and that for two reasons. First that opinion, which had been accustomed to very different things, had to be gradually trained to appreciate the merit of work which differed from the accepted canons in many respects, even in the type of material which it used for its self-expression; and next, that the Egyptian work by which the national art was first introduced to the attention of the modern world was mostly of a period which we have now learned to know as decadent. Denderah, Esneh, Edfu, Philæ, these were the products of Egyptian art which first roused the wonder of European visitors; and very naturally, for these great shrines are not only wonderful in themselves, but are also in a state of preservation which renders them intelligible and attractive to everyone who sees them. But all the same they are very unworthy to be taken as examples of what Egyptian art could do at its best, and so we need not wonder that, when the first impulse of surprise had passed away, the voice of criticism was heard, pointing out the conspicuous faults in this claimant for recognition among the great arts of the world, and refusing to allow the claim. Similarly with the works of sculpture on which another part of the Egyptian claim must be based, in almost all cases the specimens of Egyptian sculpture which were first brought under the eyes of the judges were colossal fragments of a style and a period which had their own merits, but were far from being representative of the actual work of the Egyptian sculptor at its best, as we have now come to know it. In these circumstances it is not to be wondered at that Egyptian art has only found slow and grudging recognition as one of the great arts of the world. What is strange, however, is that even to-day, when the periods of Egyptian architecture are as clearly defined, perhaps more clearly defined than the periods of Gothic, and when Egyptian sculpture is represented all over the world by either originals or reproductions of its best work in all respects, the judgment which was not unaccountable, or inapplicable in the day of the beginnings of knowledge of things Egyptian should still be repeated, and Egyptian art be characterised as a thing, interesting indeed, but essentially crude and barbaric, the product of a race which has no claim to rank alongside the other great artistic races of the world.