To pass by the purely visible side of these things, then, is not only to miss a refining pleasure, but to mistake altogether the medium in which the most intellectual of the creations of Greek art, the Aeginetan or the Elgin marbles, for instance, were actually produced; even these having, in their origin, depended for much of [191] their charm on the mere material in which they were executed; and the whole black and grey world of extant antique sculpture needing to be translated back into ivory and gold, if we would feel the excitement which the Greek seems to have felt in the presence of these objects. To have this really Greek sense of Greek sculpture, it is necessary to connect it, indeed, with the inner life of the Greek world, its thought and sentiment, on the one hand; but on the other hand to connect it, also, with the minor works of price, intaglios, coins, vases; with that whole system of material refinement and beauty in the outer Greek life, which these minor works represent to us; and it is with these, as far as possible, that we must seek to relieve the air of our galleries and museums of their too intellectual greyness. Greek sculpture could not have been precisely a cold thing; and, whatever a colour-blind school may say, pure thoughts have their coldness, a coldness which has sometimes repelled from Greek sculpture, with its unsuspected fund of passion and energy in material form, those who cared much, and with much insight, for a similar passion and energy in the coloured world of Italian painting.