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points of beauty. These ideas I mentioned to no one, but then decided to go to Egypt with open mind and see for myself.
This started me off and how thoroughly the study was followed
up in Egypt, no one but Dr. Mann and our [[dragoman?]] knows and neither of them know just what my principal object was. They know and helped me to gather scraps of glazed stone and pottery and they know that the fragments are for study, but beyond this the particulars in detail are unknown.
Now, this delightful work or play as it may be called
like all other earnest quests, usually broadens ones vision,
and from day to day, as I studied the great temples and tombs with their desert environment, the sculpture and painting in and
on wood and stone their glazes and inlay in and stone and pottery, their jewelry, metal implements &c. &c. my eyes and mind partially saw and partially understood - i.e. no one ever fully understood the nature of his inspirations - and under these influences I felt most keenly a desire to step as rapidly as possible from Egyptian art, in its home, to Japanese art in its home - This will enable me to compare under best conditions possible the best art of the two countries, and learn more accurately their differences, their qualities, their harmonies and discords. The stops on the way in Ceylon and Java are to compare Buddhistic art which is the real middle