+Liddell and Scott definition of the noun chônê and the verb chônnymi: "a melting-pit, a mould to cast in. . . . to throw or heap up . . . to cover with a mound of earth, bury." 234. +Transliteration: kedrou zôdia chrysô diênthismena. Pater's translation: "Figures of cedar-wood, partly incrusted with gold." The root verb anthizô means "to strew with flowers...and so, to dye with colours." (Liddell and Scott.) Pausanias, Description of Greece, Book VI, Chapter 19, Section 12. Pausaniae Graeciae Descriptio, 3 vols. F. Spiro. Leipzig, Teubner. 1903. 237. +Daidaleos means "cunningly or curiously wrought"; it is derived from the verb daidallô, "to work cunningly, work with curious art...." (Liddell and Scott.) 242. +The verb toreuô means "to bore through . . . to work in relief . . . to chase." (Liddell and Scott.) 244. *Now preserved at Munich. THE MARBLES OF AEGINA [251] I HAVE dwelt the more emphatically upon the purely sensuous aspects of early Greek art, on the beauty and charm of its mere material and workmanship, the grace of hand in it, its chryselephantine character, because the direction of all the more general criticism since Lessing has been, somewhat one-sidedly, towards the ideal or abstract element in Greek art, towards what we may call its philosophical aspect. And, indeed, this philosophical element, a tendency to the realisation of a certain inward, abstract, intellectual ideal, is also at work in Greek art--a tendency which, if that chryselephantine influence is called Ionian, may rightly be called the Dorian, or, in reference to its broader scope, the European influence; and this European influence or tendency is really towards the impression of an order, a sanity, a proportion in all work, which shall reflect the inward order of human reason, now fully conscious of itself,--towards a sort of art in which the record and delineation of humanity, as active in the wide, inward world of [252] its passion and thought, has become more or less definitely the aim of all artistic handicraft.