366 A History of Art in Ancient Egypt. sculptor should take in the work, who laid out for them the spaces they were called upon to fill. Although we shall not include architecture among the indus- trial arts, the distinction which we have established loses none of its practical importance. We must acknowledge, however, that there are certain classes of objects which lie upon the border- line between the two categories, so that we have some difficulty in deciding whether they belong to fine or to industrial art. The work of some Cellini of ancient times, or of our own day, may be classed, for instance, by its general form and ostensible use, among the more or less utilitarian productions of the gold- smith or silversmith ; but, on the other hand, it may be adorned with figures executed in such a fashion that we are tempted to place it among works of sculpture. Rigorous and inflexible definitions have, in fact, to be confined to the exact sciences, such as geometry. In the complexity of life, definitions and classifications can only be adhered to with a reservation. They help the historian to find his way amid the infinite diversity of phenomena, but he is the first to acknowledge that they are far from having an absolute value. They must be taken for what they are worth, simply as methods of exposition, as approxima- tions which are useful and convenient, though more or less imperfect. We have no intention of writing a history of Egyptian in- dustry. We refer those who require an account of it to the voluminous work of Sir Gardner Wilkinson, where they will find abundant details upon the trades of Egypt and the materials which they employed. We shall be content with selecting a few examples from the chief industries upon which the wealth of Egypt depended, in order to show how her artisans, like those of Greece, soueht to eive a certain amount of artistic value to every object that left their hands. Forms and motives which we have encountered in the higher branches of art are there again to be found. When civilization is in its first infancy, and the plastic instinct just struggling into life, it is from those handicrafts which may be called elementary or primitive that art borrows its first combinations of line and colour. But afterwards, when art has developed itself and created a style expressive of the national genius, the process is reversed, and the handicraftsman borrows in turn from the artist. In our modern society the use of
