Gras heard him, in his bedroom, murmur the names "Daphne" and "Erigone," and therefore it did not surprise him when, the next morning, he received the command to prepare everything for the return to Pergamus. It pleased the Bithynian, for he cared more for Daphne, Hermon, and their children than all the pleasures of the capital. A few weeks later Archias found himself again in Pergamus with his family, and he never left it, though he reached extreme old age, and was even permitted to gaze in wondering admiration at the first attempts of the oldest son of Hermon and Daphne, and to hear them praised by others. This grandson of the Alexandrian Archias afterward became the master who taught the generation of artists who created the Pergamenian works, in examining which the question forced itself upon the narrator of this story: How do these sculptures possess the qualities which distinguish them so strongly from the other statues of later Hellenic antiquity? Did the great weaver Imagination err when she blended them, through the mighty wrestler Hermon, with a tendency of Alexandrian science and art, which we see appearing again among us children of a period so much later? Science, which is now once more pursuing similar paths, ought and will follow them further, but Hermon's words remain applicable to the present clay: "We will remain loyal servants of the truth; yet it alone does not hold the key to the holy of holies of art. To him for whom Apollo, the pure among the gods, and the Muses, friends of beauty, do not open it at the same time with truth, its gates will remain closed, no matter how strongly and persistently he shakes them." ETEXT EDITOR'S BOOKMARKS: Regular messenger and carrier-dove service had been established