Egyptian Art 119 funerary cults which maintained the life and activity of these traditions. The expansion of the political, military, and com- mercial power of Egypt placed the outer world, from an early date, in contact with the technique, the forms, and the subject- matter of Egyptian art, and familiarized it also with the ex- pression of Egyptian thought. Thus if we deny that the world of Egypt was, for some thousands of years, one of the most active centres in the spread of civilization, we shall have to admit that in the ancient world all the causes which operated in more recent periods had not yet begun to produce their normal effects. It will never be possible to define precisely which were the elements which, after their first appearance on the banks of the Nile, were diffused over the whole world, and which will undoubtedly never again vanish from the memory of man- kind. (It has been shown that the use of mud-bricks, dried in the sun, passed to the New World; the name 'adobe' came with them—a form hardly differing from that which was current in Pyramid times.) Egypt gives us the opportunity to study and to follow the development, over more than forty centuries, of the artistic manifestations of man's activity in the most varied fields. As one writer can say: *No known art has been so complex in its ideas and yet so great in the simplicity of its expression.'1 Our final conclusion may be that Egypt reveals to us the knowledge of one of the sources—perhaps the source—from which the great river of beauty has flowed continuously through the world. J. CAPAR.T 1 F. H, Taylor, Worcester Art Museum Bulletin^ xxiii, 1932, p. 16.