in the Capitol at Rome. This coincidence may well be due rather to a
correspondence in the average strength of the carriers than to a common
system of authorized measures. In decoration the Kabyle vases approach the
Arabic more than the Roman style. But the feeling, both in form and
coloring, is decidedly more artistic than in the similar ware of Northern
Europe.

Very ancient influences are manifest, too, in the work of the Kabyle
silversmiths. Their diadems, ear-drops, bracelets and anklets remind one
of the forms unearthed at Hissarlik and in Cyprus. In outline and chasing
the rectangular, mathematical and monumental rules at the expense of the
flowing and floriated. A certain pre-Phidian stiffness of handling seems to
hamper the workman, as though twenty-three hundred years had been lost for
him.

[Illustration: THE BOUDOIR AND KITCHEN.]

That there should be so much of hopeful force left in the Kabyle, artisan,
agriculturist or adventurer, is creditable to him, and suggests "an
original glory not yet lost." He obstinately refuses to accept the sheer
professional vagabondism of the Arab, confident, as it were, that the world
has in reserve better use for him than that. "Day-dawn in Africa" will
probably gild his hills sooner than the tufted swamps of Guinea or the
slimy huts of the Nile. A class of missionaries quite different from the
Livingstones and the Moffatts have devoted themselves to his improvement.
They approach him in a different way, and begin on his commercial and
industrial side, not on the spiritual. The latter does not appear to be by
any means so accessible. Unlike the Ashantees, the Kafirs and the M'pongwe,
he was a Christian once, and may become one again. But he is not going to
be evangelized on the hurrah system; and that fact his new rulers, with all