The revival of interest in Greek civilization was at first purely literary, and remained so during two or three centuries. But during the last century various travellers and residents abroad made collections which awoke an interest in the art; and though most of these collectors were content with merely showy sculpture, greatly restored and falsified for the market, yet some—such as Hamilton—took a real archæological interest in the unearthing and collecting of ancient art. The condition of study at the end of the eighteenth century was that many private men of wealth had bought large quantities of sculpture which was but little understood, and looked on more from a decorative than a scientific point of view, while there were the beginnings of a serious appreciation of it which had been just laid down by Winckelmann. The nineteenth century opened with a grand work of publishing the principal treasures of classical art in England, which was finally issued in 1809 by Payne, Knight, and Townley; this marks the highest point of the dilettante collecting spirit, which was soon eclipsed by truer knowledge. Hitherto the best sculpture had hardly been known but at second hand through Roman copies; a closer acquaintance began with the travels of Dodwell, Gell, and Leake, all in the first decade of the century. The free opening of the British Museum, in 1805, and the accumulation there of all the best collections within the first quarter of the century, also served to educate a public taste. The first struggle of scientific and artistic knowledge against the dilettante spirit was over the Elgin marbles; by 1816 they were accepted as the masterpieces which all later criticism has proved them to be. The Æginetan and Phigaleian sculptures, brought to Munich and London, helped also to show the nobility of early Greek art; so that the last two generations have had a canon of taste to rely upon, the value of which cannot be overestimated.