the Delta. If at anytime Greek art borrowed directly from that of Egypt, it was during the second half of the seventh century and the first half of the sixth. By the end of the sixth century, it had become so original and so skilful in the management of its selected methods of expression that it could not have been very receptive to foreign influences. After the Persian wars such influences would be still more powerless. In the Ptolemaic era the state of things was reversed; Greece imposed her language, her literature, her religious conceptions and their visible symbols upon the whole eastern world. Even then the art of Egypt could defend, and even perpetuate itself, by the power of custom and of a tradition which had been handed down through so many centuries, but the day was past when it could provoke imitation.
As for the indirect borrowings of forms and motives which Greece received from Egypt through the Phoenicians, their transmission had come to an end before the Persian conquest, even before the time of Psemethek. Egypt was represented, either immediately or through the imitative powers of the Syrian manufacturers, in the first textiles, jewels, and vases of clay or metal, carried by the Sidonian merchants to the savage ancestors of the Greeks. In this roundabout manner she had probably more influence over Greece than in their periods of more direct communication. The rays kindled upon her hearth, the earliest of civilization, fell upon the Hellenic isles as refracted rays, after passing through the varied media of Chaldæa, Assyria or Phœnicia.
Thus if we wish thoroughly to understand Greece, we must start from Memphis and go through Babylon and Nineveh, Tyre and Sidon. But Greece will be the aim of our voyage, and Egypt will interest us less on her own account than on account of that unique and unrivalled people who inherited her inventions and discoveries, and made them the foundation for a productiveness in which are summarized all the useful labours of antiquity. Egyptian art will be followed by us down to the moment in which it lost its creative force and with it its prestige. We shall rarely have occasion to speak of the Ptolemaic remains of Egyptian art. Now and then we shall go to them for examples when any particular detail which we desire to mention has not been preserved for us by earlier monuments, but even then we shall require to have good reasons for believing that such detail did in fact originate in the creative periods of the national history.
