A cow, far enough from Myron's famous illusive animal, suckles her calf. She is [275] one of almost any number of artistic symbols of new-birth, of the renewal of life, drawn from a world which is, after all, so full of it. On one side sits enthroned, as some have thought, the Goddess of Death; on the opposite side the Goddess of Life, with her flowers and fruit. Towards her three young maidens are advancing--were they still alive thus, graceful, virginal, with their long, plaited hair, and long, delicately-folded tunics, looking forward to carry on their race into the future? Presented severally, on the other sides of the dark hollow within, three male persons--a young man, an old man, and a boy--seem to be bringing home, somewhat wearily, to their "long home," the young man, his armour, the boy, and the old man, like old Socrates, the mortuary cock, as they approach some shadowy, ancient deity of the tomb, or it may be the throned impersonation of their "fathers of old." The marble surface was coloured, at least in part, with fixtures of metal here and there. The designer, whoever he may have been, was possessed certainly of some tranquillising second thoughts concerning death, which may well have had their value for mourners; and he has expressed those thoughts, if lispingly, yet with no faults of commission, with a befitting grace, and, in truth, at some points, with something already of a really Hellenic definition and vigour. He really speaks to us in his work, through his symbolic and [276] imitative figures,--speaks to our intelligence persuasively. The surviving thought of the lad Trypho, returning from his tomb to the living, was of athletic character; how he was and looked when in the flower of his strength. And it is not of the dead but of the living, who look and are as he, that the artistic genius of this period is full. It is a period, truly, not of battles, such as those commemorated in the Marbles of Aegina, but of more peaceful contests- -at Olympia, at the Isthmus, at Delphi--the glories of which Pindar sang in language suggestive of a sort of metallic beauty, firmly cut and embossed, like crowns of wild olive, of parsley and bay, in crisp gold. First, however, it had been necessary that Greece should win its liberty, political standing-ground, and a really social air to breathe in, with development of the youthful limbs. Of this process Athens was the chief scene; and the earliest notable presentment of humanity by Athenian art was in celebration of those who had vindicated liberty with their lives--two youths again, in a real incident, which had, however, the quality of a poetic invention, turning, as it did, on that ideal or romantic friendship which was characteristic of the Greeks.