The most ancient works of Art which we possess are representations of animals, rude indeed, but often strikingly characteristic, engraved on, or carved in, stag's-horn or bone; and found in English, French, and German caves, with stone and other rude implements, and the remains of mammalia, belonging apparently to the close of the glacial epoch: not only of the deer, bear, and other animals now inhabiting temperate Europe, but of some, such as the reindeer, the musk sheep, and the mammoth, which have either retreated north or become altogether extinct. We may, I think, venture to hope that other designs may hereafter be found, which will give us additional information as to the manners and customs of our ancestors in those remote ages. Next to these in point of antiquity come the sculptures and paintings on Assyrian and Egyptian tombs, temples, and palaces. These ancient scenes, considered as works of art, have no doubt many faults, and yet how graphically they tell their story! As a matter of fact a king is not, as a rule, bigger than his soldiers, but in these battle-scenes he is always so represented. We must, however, remember that in ancient warfare the greater part of the fighting was, as a matter of fact, done by the chiefs. In this respect the Homeric poems resemble the Assyrian and Egyptian representations. At any rate, we see at a glance which is the king, which are officers, which side is victorious, the struggles and sufferings of the wounded, the flight of the enemy, the city of refuge--so that he who runs may read; while in modern battle-pictures the story is much less clear, and, indeed, the untrained eye sees for some time little but scarlet and smoke. These works assuredly possess a grandeur and dignity of their own, even though they have not the beauty of later art. In Greece Art reached a perfection which has never been excelled, and it was more appreciated than perhaps it has ever been since. At the time when Demetrius attacked the city of Rhodes, Protogenes was painting a picture of Ialysus. "This," says Pliny, "hindered King Demetrius from taking Rhodes, out of fear lest he should burn the picture; and not being able to fire the town on any other side, he was pleased rather to spare the painting than to take the victory, which was already in his hands. Protogenes, at that time, had his painting-room in a garden out of the town, and very near the camp of the enemies, where he was daily finishing those pieces which he had already begun, the noise of soldiers not being capable of interrupting his studies. But Demetrius causing him to be brought into his presence, and asking him what made him so bold as to work in the midst of enemies, he answered the king, 'That he understood the war which he made was against the Rhodians, and not against the Arts.'" With the decay of Greece, Art sank too, until it was revived in the thirteenth century by Cimabue, since whose time its progress has been triumphal.