From Thales downward we trace a succession of astronomical and physical theories, more or less successful, into which I do not intend here to enter: it is sufficient at present to contrast the father of the Ionic philosophy with the times preceding him, and to mark the first commencement of scientific prediction among the Greeks, however imperfect at the outset, as distinguished from the inspired dicta of prophets or oracles, and from those special signs of the purposes of the gods, which formed the habitual reliance of the Homeric man.[211] We shall see these two modes of anticipating the future,—one based upon the philosophical, the other upon the religious appreciation of nature,—running simultaneously on throughout Grecian history, and sharing between them in unequal portions the empire of the Greek mind; the former acquiring both greater predominance and wider application among the intellectual men, and partially restricting, but never abolishing, the spontaneous employment of the latter among the vulgar. [211] Odyss. iii. 173.— Ἠτέομεν δὲ θεὸν φαίνειν τέρας· αὐτὰρ ὅγ᾽ ἡμῖν Δεῖξε, καὶ ἠνώγει πέλαγος μέσον εἰς Εὔβοιαν Τέμνειν, etc. Compare Odyss. xx. 100; Iliad, i. 62; Eurip. Suppl. 216-230. Neither coined money, nor the art of writing,[212] nor painting, nor sculpture, nor imaginative architecture, belong to the Homeric and Hesiodic times. Such rudiments of arts, destined ultimately to acquire so great a development in Greece, as may have existed in these early days, served only as a sort of nucleus to the fancy of the poet, to shape out for himself the fabulous creations ascribed to Hephæstus or Dædalus. No statues of the gods, not even of wood, are mentioned in the Homeric poems. All the many varieties, in Grecian music, poetry, and dancing,—the former chiefly borrowed from Lydia and Phrygia,—date from a period considerably later than the first Olympiad: Terpander, the earliest musician whose date is assigned, and the inventor of the harp with seven strings instead of that with four strings, does not come until the 26th Olympiad, or 676 B. C.: the poet Archilochus is nearly of the same date. The iambic and elegiac metres—the first deviations from the primitive epic strain and subject—do not reach up to the year 700 B. C. [212] The σήματα λυγρὰ mentioned in the Iliad, vi. 168, if they prove anything, are rather an evidence against, than for, the existence of alphabetical writing at the times when the Iliad was composed.