decessors, and to draw from them typical forms which shall be more expressive of the real desires and sentiments of the public for which it caters. Between the works of these different schools, there are, however, many similarities, which are to be explained by the indentity of race and belief There are also diversities which are caused either by different conditions or by the influence of some master spirit. Wherever these schools spring up, art lives, moves, and progresses. But sooner or later comes a time when
Fig. 52. — Sculptor at work upon an arm, Thebes. (Champollion, pi. iSo.)
this ardour comes to an end, and exhaustion takes its place. The civilization to which it belongs becomes old and languid, and its creative power ceases like the imperceptible sinking of a flood. Now, it often happens that just before this period of lassitude, in the last days of reproductive strength and healthy maturity, a rich and brilliant school springs up, which interprets the characteristic sentiments of the civilization to which it belongs, with the greatest vigour and by admirably selected means. If such an interpretation be found satisfactory at all points, why
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