the fineness of the execution even in parts of the work invisible to an ordinary spectator, in the diligent finishing of which the only motive of the artist was to satisfy his own conviction as to the nature of good sculpture." It was the Dorian cities, Plato tells us, which first shook off the false Asiatic shame, and stripped off their clothing for purposes of exercise and training in the gymnasium; and it was part of the Dorian or European influence to assert the value in art of the unveiled and healthy human form. And here the artists of Aegina, notwithstanding Homer's description of Greek armour, glowing like the sun itself, have displayed the Greek warriors--Greek and Trojan alike--not in the equipments they would really have worn, but naked,--flesh fairer than that golden armour, though more subdued and tranquil [263] in effect on the spectator, the undraped form of man coming like an embodiment of the Hellenic spirit, and as an element of temperance, into the somewhat gaudy spectacle of Asiatic, or archaic art. Paris alone bears his dainty trappings, characteristically,--a coat of golden scale-work, the scales set on a lining of canvas or leather, shifting deftly over the delicate body beneath, and represented on the gable by the gilding, or perhaps by real gilt metal. It was characteristic also of that more truly Hellenic art--another element of its temperance--to adopt the use of marble in its works; and the material of these figures is the white marble of Paros. Traces of colour have, however, been found on certain parts of them. The outer surfaces of the shields and helmets have been blue; their inner parts and the crests of the helmets, red; the hem of the drapery of Athene, the edges of her sandals, the plinths on which the figures stand, also red; one quiver red, another blue; the eyes and lips, too, coloured; perhaps, the hair. There was just a limited and conventionalised use of colour, in effect, upon the marble.