Zuccaro's Resentment, 251 Royal Criticism, 252 Pietro da Cortona, 253 "Know Thyself," 254 Benvenuto Cellini, 255 Fracanzani and Salvator Rosa, 256 Pope Urban VIII. and Bernini, 256 Emulation and Rivalry in the Fine Arts, 257 The Notte of Correggio, 259 The Dresden Gallery, 262 Painting among the Egyptians, 263 Painting among the Greeks, 265 Numismatics, 269 Restoring Ancient Edifices, 274 Napoleon's Love of Art, 274 Napoleon's Works at Paris, 276 The Napoleon Medals, 281 The Elephant Fountain, 286 Interesting Drawing, 287 Sevre China, 288 Dismantling of the Louvre, 289 Removal of the Venetian Horses from Paris, 296 Removal of the Statue of Napoleon from the Place Vendome, 301 The Musee Francais and the Musee Royal, 302 Boydell's Shakspeare Gallery, 305 Brief Sketch of a Plan for an American National Gallery of Art, 307 ANECDOTES OF PAINTERS, ENGRAVERS, SCULPTORS, AND ARCHITECTS. EGYPTIAN ART. Champollion, the famous explorer of Egyptian antiquities, holds the following language at the end of his fifteenth letter, dated at Thebes. "It is evident to me, as it must be to all who have thoroughly examined Egypt or have an accurate knowledge of the Egyptian monuments existing in Europe, that the arts commenced in Greece by a servile imitation of the arts in Egypt, much more advanced than is vulgarly believed, at the period when the Egyptian colonies came in contact with the savage inhabitants of Attica or the Peloponnesus. Without Egypt, Greece would probably never have become the classical land of the fine arts. Such is my entire belief on this great problem. I write these lines almost in the presence of bas-reliefs which the Egyptians executed, with the most elegant delicacy of workmanship, seventeen hundred years before the Christian era. What were the Greeks then doing?" The sculptures of the monument of El Asaffif are ascertained to be more than three thousand five hundred years old.