§ 92. When we come to the literary and artistic side, the foreign historians have a decided advantage. The philosophical side of Greek literature has indeed been treated by Grote and other English writers with a fulness and clearness that leave little to be desired; but on the poetry and the artistic prose of the Greeks, foreign scholars write with a freshness and a knowledge to which few of us attain. Of course a Frenchman, with the systematic and careful training which he gets in composition, must have an inestimable advantage over people, like us, who merely write as they list, and have no rules to guide their taste or form their style. And the German, if as regards style he is even less happily circumstanced than the Englishman, whose language has at least been moulded by centuries of literature, has yet on the side of archæology and art enjoyed a training which is only just now becoming possible in England or America. [Sidenote: especially in art.] Hence it is that the earlier part of Curtius' history has such a charm,--though we must not detract from the individual genius of the man, which is manifest enough if we compare him with the solid but prosaic Duncker. However complete and well articulated the bones of fact may lie before us, it requires a rare imagination to clothe them with flesh and with skin, nay, with bloom upon the skin, and expression in the features, if we are to have a living figure, and not a dry and repulsive skeleton. [Sidenote: Importance of studying Greek art.] § 93. What I think it right, in conclusion, to insist upon is this: that a proper knowledge of Greek art, instead of being the mere amusement of the dilettante, is likely to have an important effect upon the general appearance of our public buildings and our homes, and to make them not only more beautiful, but also instructive to the rising generation. The day for new developments of architecture and of decorative art seems past, though the modern discovery of a new material for building--iron--ought to have brought with it something fresh and original. In earlier ages the quality of the material can always be shown to be a potent factor in style. [Sidenote: Modern revivals of ancient styles,--Gothic, Renaissance.] If, however, we are not to have a style of our own, we must necessarily go back to the great builders and decorators of former ages, and make them the models of our artists. This has in fact been the history of the revivals since the universal reign of vulgarity in what we call the early Queen Victoria period in England. First there was a great Gothic revival, when we began to understand what the builders of the twelfth and thirteenth centuries meant, and to reproduce their ideas with intelligence. This has since given way to the Renaissance style, in which most recent buildings have been erected, and which has beauties which the Gothic revivalists used to regard with horror.