The student of plastic art finds in the remains of prehistoric times rather a tendency to the creation of art, than art itself; by postponing our study of this tendency until we come to investigate the origin of Greek and Italian art, we are enabled to avoid all excursion beyond the limits implied by our title, beyond that which is generally called antiquity. The conventional meaning of this word embraces neither the primitive savages who chipped the first flint, nor the cave-men, but it calls up before our eyes the brilliant cities of northern Africa and hither-Asia, of Greece and Italy, with which our school-days have made us familiar; it reminds us of those nations whose stories we learnt from the sacred and profane authors whose works we read in our youth; and our thoughts revert to their grandiose monuments of architecture and sculpture, to their masterpieces of poetry and eloquence, to those great works of literature in which we took our first lessons in the art of writing and speaking. Behind all these images and associations the intelligence of an educated man tells him--and the discoveries of science every day make the fact more certain--that in the ancient as in the modern world, the nations which figure upon the stage of history were not isolated; they each had neighbours who influenced them, or whom they influenced, by commerce or conquest; each also received something from its predecessors, and in turn transmitted the results of its labour to those which came after it; in a word, the work of civilization was continuous and universal. The nations which, for three or four thousand years, were grouped round the basin of the Mediterranean, belonged to one historical system; to those who take a wide grasp of facts they are but the members and organs of one great body, in which the nervous centres, the sources of life, of movement and of thought, slowly gravitated with the effluxion of time from the east to the west, from Memphis and Babylon to Athens and Rome.