The existence of these two antagonistic elements satisfactorily explains how it was that while art was unknown in the purely Dorian city of Sparta, it flourished so exuberantly in the quasi-Pelasgic city of Athens; why the Dorians borrowed their architectural order from Egypt, and hardly changed its form during the long period they employed it; and how it came to pass that the eastern art of the Persians was brought into Greece, and how it was there modified so essentially that we hardly recognise the original in its altered and more perfect form. It explains, too, how the different States of Greece were artistic or matter-of-fact in the exact proportion in which either of the two elements predominated in the people. Thus the poetry of Arcadia was unknown in the neighbouring State of Sparta; but the Doric race there remained true to their institutions and spread their colonies and their power farther than any other of the little principalities of Greece. The institutions of Lycurgus could never have been maintained in Athens; but, on the other hand, the Parthenon was as impossible in the Lacedemonian State. Even in Athens art would not have been the wonder that it became without that happy admixture of the two races which then prevailed, mingling the common sense of the one with the artistic feeling of the other, which tended to produce the most brilliant intellectual development which has yet dazzled the world with its splendour. The contemporary presence of these two races perhaps also explains how Greek civilisation, though so wonderfully brilliant, passed so quickly away. Had either race been pure, the Dorian institutions might have lasted as long as the village-systems of India or the arts of Egypt or China; but where two dissimilar races mix, the tendency is inevitably to revert to the type of one, and, though the intermixture may produce a stock more brilliant than either parent, the type is less permanent and soon passes away. So soon was it the case, in this instance, that the whole of the great history of Greece may be said to be comprehended in the period ranging between the battle of Marathon (B.C. 490) and the peace concluded with Philip of Macedon by the Athenians (B.C. 346): so that the son of a man who was born before the first event may have been a party to the second. All those wonders of patriotism, of poetry, and art, for which Greece was famous, crowded into the short space of a century and a half, is a phenomenon the like of which the world has not seen before, and is not likely to witness again. PELASGIC ART.