shapes borrowed, but it was quite common to decorate furniture with pseudo-Egyptian statuettes and reliefs, or with brass plaques chased in imitation of parts of Egyptian pictures. The pseudo-Egyptian craftsmanship of the Empire--so apt an expression of the temper of French thought at that time--may be studied well at Fontainebleau or at Marlborough House in London, while of course it is in evidence in the backgrounds of many Empire pictures, in particular those of Louis David. Indeed, that master himself, the most influential French painter of his day, owed something to the Egyptian school, while a similar debt is suggested by sundry works of the sculptors Chinard and Houdon; and a study of Empire buildings reveals that the architects of the period, mainly devoted though they were to ancient Greece and Rome, were not uninfluenced by the art of the land of the Pharaohs. Nor was this true only of the French architects, for that great Scottish artist in stone, Robert Adam, who died the year the French Republic was established, would seem to have shared the attraction. He often introduced Egyptian objects into his decorative schemes, while the large, imposing simplicity he frequently attained is rich in suggestion of notable Egyptian edifices. The same massive 'Egyptian' simplicity is to be seen in the statuary of the mighty Serb, Ivan Mestrovic, as also in that of the Swede, David Edström. Indeed, it would be wearisome to enumerate all the artists of different nationalities who have clearly been indebted to the genius of Egypt, but we must not conclude without some reference to the influence of the school on the Post-Impressionist painters. The Post-Impressionists were not, as is commonly said, direct descendants of the Impressionist group, but rather seceders therefrom. Their watchword was simplicity, and in pursuance of this ideal they turned lovingly to study primitive art, especially that of the Egyptians, finding therein that simple element which they desired. Artistic Remains Returning to our main subject, we may ask, What is the actual æsthetic value of Egyptian art to our own generation?