ot allow the fragments of the Parthenon to be
ground into fine white mortar, and the busts of ancient heroes to be
targets for the weapons of Turkish youths? are questions which a few
utilitarians may be inclined to ask; and it would certainly be
difficult to show, for instance in figures, the gain the country has
made by expending 35,000L. on the Elgin marbles: in the same way that
it is difficult to appraise the beneficial influence of beauty, or to
test the developments of the universe by double entry.

But let the visitor pace these noble galleries of his national museum
with a reverent heart, let him learn from these beautiful labours of
long ago, that not only to him and his fellows of the proud nineteenth
century, when fiery words are flashing through the seas, and steam
fights like a demon with time, were the living years pregnant with the
glories of art; but that the Egyptian, with his rude bronze chisel,
cut his native rocks with no unskilful hand, before the Son of God lay
cradled in a manger.

Past the bewildering fragments of art in the south-western gallery to
the south-western corner of the building, then south like an arrow to
the northern end of the sculpture rooms, should the visitor at once
proceed. He will pass by fragments of Assyrian, Greek, and Roman art,
but to these he should now pay little heed, as his immediate business
is with the fine gallery of

EGYPTIAN SCULPTURE,

which is the most northernly apartment or gallery of the western wing.
Here he will at once notice the rows of Sarcophagi, which are ranged
on either side of the central passage of the gallery. These colossal
outer-coffins contained the mummies of distinguished Egyptians. Along
the walls of the room are ranged the sepulchral tablets, or tombstones
of ancient Egyptians, and the inscriptions generally record the name
and age of a deceased person; and in some cases, points of domestic
history and pious sentences. Their dates range over a space of time
amounting to more than twenty centuries. Interspersed with these are
other sculptures, chiefly of Egyptian deities; but the attention of
the visitor will be probably attracted first to the

EGYPTIAN OUTER COFFINS.

The visitor, having reached the northern end of the Egyptian Saloon,
should turn to the south, and begin a minute examination of its
contents. The sarcophagi, or outer coffins of stone, in which the rich
ancient Egyptians deposited the embalmed bodies of their relati