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between Europe and Asia, because on the adverse side there stood 
also the great tyranny of Egypt. ‘The civilisation of Egypt was 
essentially Asiatic in its genius, and probably also in its origin. 
The rise of sculpture in Greece was rapidly shown; sculpture 
from the Temple of Athena at Egina was illustrated, and then, 
after references to other works, magnificent sculptures of the 
Parthenon were viewed, and the connection of Phidias with these 
works indicated. Statues by Praxitetes and other masters were 
next tastefully dealt with, and the sketch of ancient sculpture 
was brought to a close with the Greco-Roman period. Mr. Rose 
then came to the medieval and modern sections of his lecture, 
this part of the subject being made doubly attractive by artistic- 
ally coloured views of cities which, like Venice, Pisa and 
Florence, are famous in the history of art. The influence of 
Christianity in broadening the mission of art was commented on. 
While pointing out that there had been no real technical advance 
in sculpture since the Greek days, Mr. Rose claimed that under 
the influence of Christianity, Art became more and more universal 
in its sympathies, and more and more humane in its appeal. He 
illustrated this from the works of Niccola Pigano, Lorenzo 
Ghiberti, Donatello, Michael Angelo, and other masters, finally 
dealing with Canova and Flaxman, and a few other sculptors of 
the early part of the last century. Having offered a few comments 
on the present position and prospects of the art, Mr. Rose con- 
cluded by saying that it was a high office of Art to reveal to man 
the beauty which was around him. But the highest office of Art 
was to reveal beauty of form in man himself, and beauty of 
character—beauty of body and beauty of soul. In all healthful 
conditions these two kinds of beauty were combined or associated 
with one another. Edmund Spenser has wisely said :— 
“For of the soul the body form doth take,’’ 
For soul is form and doth the body make.” 
It was on the recognition of the truth which Spenser thus 
declared, that ultimately our appreciation of the value of the 
sculptor’s art must rest. The soul made the body, and sculpture, 
in its highest forms, helped to portray the qualities of the soul, 
which the body was so well fitted to express. Dryden had 
spoken of that power of music which raised a mortal to the skies 
and brought an angel down. ‘Truly a miraculous achievement. 
The sculptor was not such a miracle worker. But at least he 
helped us to see the angel when it came, whether as noble 
warrior, martyred saint, tender mother, little child, or in any 
other shape. For these reasons we heid the great sculptor in 
honour. He was arevealer and a teacher to whom our admiration 
and our gratitude alike were due. 
