[65:1] I have not attempted to consider the Cretan cults. They lie historically outside the range of these essays, and I am not competent to deal with evidence that is purely archaeological. But in general I imagine the Cretan religion to be a development from the religion described in my first essay, affected both by the change in social structure from village to sea-empire and by foreign, especially Egyptian, influences. No doubt the Achaean gods were influenced on their side by Cretan conceptions, though perhaps not so much as Ionia was. Cf. the Cretan influences in Ionian vase-painting, and e. g. A. B. Cook on 'Cretan Axe-cult outside Crete', _Transactions of the Third International Congress for the History of Religion_, ii. 184. See also Sir A. Evans's striking address on 'The Minoan and Mycenaean Element in Hellenic Life', _J. H. S._ xxxii. 277-97. [66:1] See _R. G. E._,{3} p. 58 f. [68:1] 2 Sam. vi. 6. See S. Reinach, _Orpheus_, p. 5 (English Translation, p. 4). [72:1] Cf. Sam Wide in Gercke and Norden's _Handbuch_, ii. 217-19. [73:1] The Ξύνεσις in which the Chorus finds it hard to believe, _Hippolytus_, 1105. Cf. _Iph. Aul._ 394, 1189; _Herc._ 655; also the ideas in _Suppl._ 203, Eur. Fr. 52, 9, where Ξύνεσις is implanted in man by a special grace of God. The gods are ξυνετοί, but of course Euripides goes too far in actually praying to Ξύνεσις, Ar. _Frogs_, 893. [77:1] Cf. the beautiful defence of idols by Maximus of Tyre, Or. viii (in Wilamowitz's _Lesebuch_, ii. 338 ff.). I quote the last paragraph: 'God Himself, the father and fashioner of all that is, older than the Sun or the Sky, greater than time and eternity and all the flow of being, is unnameable by any lawgiver, unutterable by any voice, not to be seen by any eye. But we, being unable to apprehend His essence, use the help of sounds and names and pictures, of beaten gold and ivory and silver, of plants and rivers, mountain-peaks and torrents, yearning for the knowledge of Him, and in our weakness naming all that is beautiful in this world after His nature--just as happens to earthly lovers. To them the most beautiful sight will be the actual lineaments of the beloved, but for remembrance' sake they will be happy in the sight of a lyre, a little spear, a chair, perhaps, or a running-ground, or anything in the world that wakens the memory of the beloved. Why should I further examine and pass judgement about Images? Let men know what is divine (τὸ θεῖον γένος), let them know: that is all. If a Greek is stirred to the remembrance of God by the art of Pheidias, an Egyptian by paying worship to animals, another man by a river, another by fire--I have no anger for their divergences; only let them know, let them love, let them remember.' III THE GREAT SCHOOLS OF THE FOURTH CENTURY, B. C.