upheaval of a
new culture was needed to lift it once more into the
region of individual creation. See Boyd Dawkins' "Early
Man in Britain;" also General Pitt Rivers's Museum of
Prehistoric Art, lately presented to the University of
Oxford.

[74] See Boyd Dawkins' "Early Man in Britain."

[75] "I hope, indeed, to enable them" (the members of
his class) "to read, above all, the minds of
semi-barbarous nations in the only language by which
their feelings were capable of expression; and those
whose temper inclines them to take a pleasure in mythic
symbols, will not probably be induced to quit the
profound fields of investigation which early art will
open to them, and which belong to it alone. For this is
a general law, that supposing the intellect of the
workman the same, the more imitatively complete his art,
the less he will mean by it, and the ruder the symbol,
the deeper the intention."--Ruskin's "Oxford Lectures on
Art," 1870, p. 19.

[76] See Isaac Taylor's "History of the Alphabet."

[77] Renouf's Hibbert Lectures, 1879, p. 67.

[78] Now there is a point of view in which we may regard
the imitative art of all races, the most civilized as
well as the most barbarous--in reference to the power of
correctly representing animal and vegetable forms, such
as they exist in nature. The perfection of such
imitation depends not so much on the manual dexterity of
the artist as on his intelligence and comprehension of
the type of the essential qualities of the form he
desires to represent. See Ch. T. Newton's "Essays on Art
and Archaeology," p. 17.

[79] See Wilkinson's "Ancient Egyptians."

[80] Plato's Second Book of Laws, p. 656.

[81] "The religion of the Greeks penetrated into their
institutions and daily life. The myth was not only
embodied in the sculptures of Pheidias on the Parthenon,
and portrayed in the paintings of Polygnotus in the Stoa
Poikile; it was repeated in a more compendious and
abbreviated form on the fictile vase of the Athenian
household, on the coin circulated in the market-place,
on the mirror in which the Aspasia of the day beheld her
charms. Every domestic implement was made the vehicle of
figurative language, or fashioned into a
symbol."--Newton's "Essays on Art and Archaeology," p.
23.

[82] "Art in O