In like manner, it has been remarked by Goethe that the granite breaks into parallelepipeds, which broken in two, one part would be an obelisk; that in Upper Egypt the inhabitants would naturally mark a memorable spot by setting up so conspicuous a stone. Again, he suggested, we may see in any stone wall, on a fragment of rock, the projecting veins of harder stone, which have resisted the action of frost and water which has decomposed the rest. This appearance certainly gave the hint of the hieroglyphics inscribed on their obelisk. The amphitheatre of the old Romans,--any one may see its origin who looks at the crowd running together to see any fight, sickness, or odd appearance in the street. The first comers gather round in a circle; those behind stand on tiptoe; and farther back they climb on fences or window-sills, and so make a cup of which the object of attention occupies the hollow area. The architect put benches in this, and enclosed the cup with a wall,--and, behold a coliseum! It would be easy to show of many fine things in the world,--in the customs of nations, the etiquette of courts, the constitution of governments,--the origin in quite simple local necessities. Heraldry, for example, and the ceremonies of a coronation, are a dignified repetition of the occurrences that might befall a dragoon and his footboy. The College of Cardinals were originally the parish priests of Rome. The leaning towers originated from the civil discords which induced every lord to build a tower. Then it became a point of family pride,--and for more pride the novelty of a leaning tower was built. This strict dependence of Art upon material and ideal Nature, this adamantine necessity which underlies it, has made all its past, and may foreshow its future history. It never was in the power of any man, or any community, to call the arts into being. They come to serve his actual wants, never to please his fancy. These arts have their origin always in some enthusiasm, as love, patriotism, or religion. Who carved marble? The believing man, who wished to symbolize their gods to the waiting Greeks. The Gothic cathedrals were built when the builder and the priest and the people were overpowered by their faith. Love and fear laid every stone. The Madonnas of Raphael and Titian were made to be worshipped. Tragedy was instituted for the like purpose, and the miracles of music: all sprang out of some genuine enthusiasm, and never out of dilettanteism and holidays. Now they languish, because their purpose is merely exhibition. Who cares, who knows what works of art our government have ordered to be made for the Capitol? They are a mere flourish to please the eye of persons who have associations with books and galleries. But in Greece, the Demos of Athens divided into political factions upon the merits of Phidias.