During the Middle Ages, Art generally followed the inspirations of that Christian spirit which presided at the formation of this new world. It arose to reproduce in an admirable manner the religious ideal. Only towards the end of that period it searched out for beauty of form, and began to find it when the Renaissance made its appearance: the Renaissance, that is, the intellectual revolution, which, in the fifteenth and sixteenth centuries, restored among modern nations the sceptre to Literature and the Arts of antiquity. Then, with the Renaissance, the Arts changed their direction, and especially the principal Arts, those by which the genius of man expresses most forcibly his ideas and his feelings. Thus, in the Middle Ages, a new style of architecture is created that rapidly attained the highest degree of perfection, the _ogival_ (later Gothic or flamboyant), of which we see the _chefs-d’œuvre_ in our cathedrals: at the Renaissance, this was replaced by architecture derived from that of the Greeks and Romans, which also produced admirable works, but almost always less in harmony with the dignity and splendour of worship. In the Middle Ages, Painting chiefly applied itself to represent the _beau idéal_ of the religious mind reflecting itself in the countenance; at the Renaissance, it is the beauty of the physical form, so perfectly expressed by the ancients. Sculpture, which comes nearer to Painting, followed at the same time all similar phases, drawing the art of Engraving with it. Do not the diversified changes through which the Arts passed, as retraced in this book during two epochs, present to the intelligent reader a succession of facts of the highest interest and a history most instructive? Our work is the only existing one on this great and magnificent subject, of which the materials are scattered through a multitude of volumes. Thus for the success of this undertaking it became necessary to unite with us in our task men most distinguished by their learning and talents: we are permitted to cite the names of MM. Ernest Breton, Aimé Champollion, Champollion-Figeac, Pierre Dubois, Duchesne, Ferdinand Denis, Jacquemart, Arch. Juvinal, Jules Labarte, Lassus, Louandre, Prosper Mérimée, Alfred Michiels, Gabriel Peignot, Riocreux, De Saulcy, Jean Designeur, le Marquis de Varennes. After such a list we record our own name only to acknowledge that we have gone over and recast these various works, and presented them in a form which gives them more unity, but owes to them all the interest and all the charm it may offer. The numerous illustrations that adorn the work will engage the eye, while the text will speak to the intelligence. The designs in chromolithography are executed by M. Kellerhoven, who for several years has made the art one of a high order, worthy to shine among the finest works of our greatest painters, as is proved by his “Chefs-d’œuvre of the Great Masters,” “Lives of the Saints,” and “Legend of St. Ursula.”