The system of Greek polychromy is the richest of all those of antiquity; but it is, apparently, based neither on a principle of construction or material as among the Assyrians, nor on a hierarchical principle as among the Egyptians. The most striking oppositions of principle are found united in it and harmonised, a more artistic and elevated, but less positive conception. Nevertheless, this applies only to the edifices of a period when art was in a state of high development among them, since the ancient Doric system appears to have had much in common with Egyptian art before it was penetrated by Ionian influence, which depended rather on Asiatic traditions. I am convinced that the style of Doric polychromy was essentially different to that of the Ionic, which was, notwithstanding, of equal antiquity and originality. Doric polychromy was based on the Egyptian system, whilst that of Ionia was based on Asiatic models. The first named was lapidary; the colours were detached on a whitish or yellowish ground; there was no gilding, and the use of blue was common, that being the holy colour of the Egyptians (a turquoise blue), the symbolic colour of the priesthood and aristocracy. The second was more primitive in its nature and recalled more directly the elementary motive of _tapestry_ and _embroidery_. The ground was generally of a rather deep colour, blue or red, even in the constructive portions, such as the shafts of columns, architraves, &c., a good deal of gilding and sea-green (prasinum) was used; the favourite colour of the Assyrians, the symbolic colour of absolutism and of democracy. The green is still now the holy colour of the successors of the Assyrians in Asia. This difference of style, analogically observable in the music of these two races, explains the divergent investigations made on the temples of Sicily, and those of Athens. The monuments of Athens, Doric in their general appearance partook, nevertheless, a good deal of the Ionic character. The Ionic mind had penetrated Doric matter, and colour being the least material was that which the Ionian sentiment most easily mastered. It would be a difficult but very interesting task to unravel the religious and political signification of certain colours in ancient times. We know that red, blue, turquoise, and sea-green, were the four colours by which the factions of the circus distinguished themselves. These were not capriciously chosen, each faction having adopted that colour, the symbolic and traditional meaning of which agreed with the political principles professed by it.