Notwithstanding the deplorable fact that there are gaps existing at those critical stages where information would be the most welcome, it is nevertheless possible to construct a fairly continuous narrative of the development of the sailing ship. It will be noticed that in addition to the information to be found in ancient tombs of Egypt we have the evidence of ancient coins, vases, terra-cotta and wooden models, lamps, monuments, excavations in Scandinavia, England, Scotland, Germany. Coming to more modern times, there is the Bayeux Tapestry, with its excellent copy in the South Kensington Museum. We have, too, the pictorial representations on ancient seals and coins of this country. There are some reproductions of ships in old manuscripts; but it is an unfortunate fact that, except in comparatively modern times, it is rare to find the ship commemorated in paintings. Even when it is found, it is often represented with less regard to marine accuracy than to pictorial effect. When one considers the high position both Venice and Genoa occupied during the Middle Ages, alike in respect of art and maritime pursuits, it is difficult to understand why so remarkably few pictures of ships remain to us among the Old Masters. In both religious and secular paintings the ship is conspicuous by its absence. Perhaps it may be that artists had not received sufficient encouragement to paint marine subjects and that the gulf which to-day exists between the landsman and the sailor was equally great then.