In this, as in every other branch of archaeological research, he will be led to remark great original differences between races, and certain resemblances, the result of the influence of school upon school by tradition or imitation.
By this study of external characteristics he will obtain the true criteria for arranging all art both chronologically and ethnographically, and will also be able to form some kind of scale of the relative excellence of all that he has to classify.
Thus far his work is analogous to that of the Palæographer, who acquaints himself with the systems of writing of all races, traces their tradition and the changes they undergo, and assigns them to their respective periods and countries.
But, as we have already pointed out, the Palæographer has not only to acquaint himself with the handwriting, but to bestow more or less of study on the words written; and in some cases, as in the Egyptian hieroglyphics, the work of deciphering and of interpretation compel him to be deeply versed in history and philology.
So it is with the Archaeology of Art. We must not only know the mere external characteristics of the style, we must know the meaning or motive which pervades it; we must be able to read and to interpret it.
It is only a knowledge of the meaning or motive of art that enables us to appreciate its most essential qualities. The highest art is thought embodied and stated to the eye; hence it has been well defined as "mute poetry."
Now, when we survey all the remains of art of which Archaeology has cognisance, we shall perceive that it is only a certain portion of these remains that can be said to embody thought.
It is those works of Imitative Art which embody thought, which have the first claim on the attention of the Archaeologist, and, above all, those which express religious ideas.
The most elevated art which the world has yet seen has been devoted to the service of Religion. Art has stereotyped and developed that Figurative and Symbolic language, of which we find the partial and transient expression in the Oral Symbolism of rituals.
When I speak of a Figurative and Symbolic language, I include under this general term all idols and visible emblems, all productions of the painter and sculptor, which have been
