spirit troubled their imagination. The chisel trembled with rage or fear, with hatred or passion, in their hands; they saw prophetically the national downfall of their country, and with it science, art, poetry, and philosophy were to be rendered for thousands of years houseless and homeless. Once more art revived under Skopas, Praxiteles, and Lysippus, but in a totally different shape. Greece had lost through her civil war the proper balance between her moral and intellectual forces. Simplicity and refinement of thought had vanished. In literature metaphors prevailed; in politics Aristides had to yield to the double-tongued Alkibiades; in tragedy Sophokles was superseded by Euripides; in sculpture the immortal Pheidias was followed by Praxiteles. The national spirit of the Greeks, inspired by common interests, swayed by the very highest aspirations in arts and sciences, suddenly collapsed into a narrow-minded, particularising egotism. Tribes cared only for tribes, parties for parties. The public buildings began to be neglected, whilst the private dwellings gained in ornamentation and comfort, what was denied to the grand national enterprises. The public places were no longer adorned with the statues of those who had gained the general approbation of the masses. The artist, doubtful whom to please, tried to please everyone, or to satisfy the individual fancy of a paying patron. Art was no more the chaste virgin sacrificing to beauty, but became a courtesan seeking general and special favour at all hazards. The divinities were no more the representations of a spiritual eîdolon, but a glowing sentiment of sensual love was poured over their frames; they were no longer ideal conceptions in marble, but beautiful flesh forms in stone or bronze. They lost all generalisation, they were more correct in the anatomical outlines, but a passionate sentiment of sensuality thrilled through every point. Kephisodotus (the elder), probably the father of Praxiteles, embodied the change in Greek thought in a beautiful group. Eirene (peace) fondles the child Pluton (riches)--a splendid allegorical representation of the political condition of Greece at this time. ‘Let us put an end to our quarrels; let us have peace, and enjoy life once more.’