In many directions we have now traced the outlines of the artistic skill of the Egyptians, but only outlines, which point incessantly to the wide spaces that need to be filled in by further detail. Much of that has yet to be discovered, but much is ready to hand whensoever a careful observer may choose to devote attention to any of the branches of art or technical work which we have so briefly noticed. In every direction a complete collecting of materials and an adequate publication of them would bring a full reward in results. The powerful technical skill of Egyptian art, its good sense of limitations, and its true feeling for harmony and expression, will always make it of the first importance to the countries of the West with which it was so early and so long connected. CHAPTER XVI EGYPT’S PLACE IN THE ART OF THE WORLD In the opening chapter we have considered the point of view from which the art of Egypt--like that of every other country--must be approached. The physical conditions which surround man will necessarily control his expression of thought and his perception of beauty. Forms and designs growing out of the conditions of one land will be inappropriate in another land, and lose most, or all, of their value if transported to different surroundings. Hence it is futile to attempt to contrast the art of one country directly with that of another. We might as well compare the beauty of a tropical garden with that of an alpine forest. The only ground of comparison is that of expressing the character and emotions of the artists; and that art which conveys the mental state of the people most readily is the most perfect art. This criticism leaves aside altogether the moral question of our appreciation of the people themselves; that does not belong to art but to ethics. And before we can begin to judge of that, we must know their surroundings, and the position in which they were conditioned in the world. Our consideration here is with the art. When we look over the varied artistic expression of different races, we see that each people has seized some one excellence, growing out of its conditions, and adapted to its feelings and utilities. We can admire each excellence in turn, and see that in each of these qualities no other people has reached the same perfection. We must recognise that artistic expression is not only shown in sculpture and painting, but in literature, mechanical design, and the amenities and adaptation of the social organism. In Egypt, as we have noticed, the ruling principles of the art are durability, strength, and dignity, and such were the features of the national character. In vain do we look in any other country for as great an expression of any of these principles. And, with the single exception of Greece, it was also supreme in precision of work. Its work was the true expression of character, and in perfect harmony with the nature of the country.