Searching through all Cultures, then, one will always find that the continuation of earlier creations into a later Culture is only apparent, and that in fact the younger _being_ has set up a few (very few) relations to the older _being_, always without regard to the original meanings of that which it makes its own. What becomes, then, of the “permanent conquests” of philosophy and science? We are told again and again how much of Greek philosophy still lives on to-day, but this is only a figure of speech without real content, for first Magian and then Faustian humanity, each with the deep wisdom of its unimpaired instincts, rejected that philosophy, or passed unregarding by it, or retained its formulæ under radically new interpretations. The naïve credulity of erudite enthusiasm deceives itself here--Greek philosophic notions would make a long catalogue, and the further it is taken, the more vanishingly small becomes the proportion of the alleged survivals. Our custom is simply to overlook as incidental “errors” such conceptions as Democritus’s theory of atomic images,[60] the very corporeal world of Plato’s “ideas,” and the fifty-two hollow spheres of Aristotle’s universe, as though we could presume to know what the dead meant better than they knew themselves! These things are truths and essential--only, not for us. The sum total of the Greek philosophy that we possess, actually and not merely superficially, is practically nil. Let us be honest and take the old philosophers at their word; not one proposition of Heraclitus or Democritus or Plato is true for us unless and until we have accommodated it to ourselves. And how much, after all, have we taken over of the methods, the concepts, the intentions, and the means of Greek science, let alone its basically incomprehensible terms? The Renaissance, men say, was completely under the “influence” of Classical art. But what about the form of the Doric temple, the Ionic column, the relation of column to architrave, the choice of colour, the treatment of background and perspective in painting, the principles of figure-grouping, vase-painting, mosaic, encaustic, the structural element in statuary, the proportions of Lysippus? Why did all this exercise no “influence?”