and revolts which are met with at the close of
ancient Egyptian history brought the culture of that country to the
lowest ebb of vitality. The fall of Greece put an absolute stop to the
artistic life of that nation. The invasions of Italy by the inhabitants
of less refined countries caused a set-back in civilisation for which
almost the whole of Europe suffered. Certain of the French arts and
crafts have never recovered from the effects of the Revolution.

A national convulsion of one kind or another is to be expected by every
country; and history tells us that such a convulsion is generally
followed by an age of industrial and artistic coma, which is brought to
an end not so much by the introduction of foreign ideas as by a
renascence of the early traditions of the nation. It thus behoves every
man to interest himself in the continuity of these traditions, and to
see that they are so impressed upon the mind that they shall survive all
upheavals, or with ease be re-established.

There is no better tonic for a people who have weakened, and whose arts,
crafts, and industries have deteriorated than a return to the conditions
which obtained at a past age of national prosperity; and there are few
more repaying tasks in the long-run than that of reviving an interest in
the best periods of artistic or industrial activity. This can only be
effected by the study of the past, that is to say by archaeology.

It is to be remembered, of course, that the sentimental interest in
antique objects which, in recent years, has given a huge value to all
ancient things, regardless of their intrinsic worth, is a dangerous
attitude, unless it is backed by the most expert knowledge; for instead
of directing the attention only to the best work of the best periods, it
results in the diminishing of the output of modern original work and the
setting of little of worth in its place. A person of a certain
fashionable set will now boast that there is no object in his room less
than two hundred years old: his only boast, however, should be that the
room contains nothing which is not of intrinsic beauty, interest, or
good workmanship. The old chairs from the kitchen are dragged into the
drawing-room--because they are old; miniatures unmeritoriously painted
by unknown artists for obscure clients are nailed in conspicuous
places--because they are old; hideous plates and dishes, originally made
by ignorant workmen for impoverished peasants, are enclosed i