4o6 A History of Art in Ancient Egypt. were no more than agents and translators of a thought which was grasped in its entirety by the architect alone. His work, embellished with all the graces of a decoration which reckoned neither time nor materials, formed a homogeneous and well-balanced w^hole. It was in inventing, in bringing to perfection, and in contemplating such a work that the Egyptian mind gave itself up most completely to love for beauty. If we take an Egyptian building in its unity, as the product of a combined effort on the part of a crowd of artists labouring under the directing will of the architect, we shall no longer feel surprise at the space demanded by our study of his art. The Egyptian temple of the Theban period, as we know it by our examination of Karnak and Luxor, the Ramesseum and Medinet-Abou, gives us the best and highest idea of the national genius. We have had nothing more at heart than the restoration of these edifices by the comparison of all available materials ; we have endeavoured to re-establish their general arrangements, to describe their distinctive features, and to grasp their original physiognomies as a whole. But while making this effort we could never succeed in banishing the Greek temple from our minds. In vain we may try to judge the art of each people entirely on its own merits ; such comparisons are inevitable, and without dwelling upon the question we shall devote a few words to it. The differences are considerable and- are all to the advantage of the Greek creation. Its nobility is more intimate and smiling ; the genius of man has there succeeded better in giving to his work that unity which nature imprints on its highest productions, an unity which results from the complete alliance between different organs, and allows neither the subtraction of any part nor the addition of any novel element. These contrasts may be explained to a certain extent by the religion of Greece and its social system. At present it is enough to point out their existence. This superiority of the Greek temple will hardly be contested, but after it that of Egypt is certainly the most imposing and majestic product of ancient art. The religious buildings of Chaldsea, Assyria, Persia, Phoenicia, and Judaea, have left but slight remains behind them, and the information which we possess as to
