I will repeat here at the beginning of this book what I said at the beginning of my Life of Jesus. Hypothesis is indispensable in histories of this character, where only the general effect is certain, and where almost all the details are more or less dubious, in consequence of the legendary nature of the authorities. There is no hypothesis at all to be made in regard to epochs of which we know nothing. To attempt to reproduce a group of antique statuary which has certainly existed, but of which we have not even a fragment, and about which we possess no written information, is a purely arbitrary work; but what can be more legitimate than to try to re-arrange the frieze of the Parthenon from the portions which remain, and with the aid of ancient descriptions of drawings made in the seventeenth century, and all other possible means of information--in a word, to become inspired with the style of these inimitable sculptures, and to endeavor to grasp their soul and spirit? It need not be said after the effort that the work of the ancient sculptor has been reproduced; but that everything possible has been done to approach it. Such a procedure is much more legitimate in history, because the doubtful forms of language permit that which the marble does not. Nothing prevents us from proposing to the reader a choice between different suppositions. The conscience of the writer need not trouble him as long as he presents as certain, that which is certain; as probable, that which is probable; as possible, that which is possible. When history and legend glide together, it is only the general effect which need be followed out. Our third book, for which we shall have documents absolutely historical, and in which it will be our function to depict characters clearly defined, and to relate facts distinctly set forth, will thus present a firmer narrative. It will be seen, however, that the physiognomy of that period is, upon the whole, not known with certainty. Accomplished facts speak louder than biographical details. We know very little about the incomparable artists to whom we are indebted for the masterpieces of Greek art; yet these masterpieces really tell us more of the individuality of their authors, and of the public that appreciated them, than could the most circumstantial narrations or the most authentic text.