We have only to compare the conditions in Judea, Persia, Egypt, and early Rome to see the enormous differentiation herein implied. In Mazdean Persia and Yahwistic Judea there was a tabu on all divine images, and by consequence on all sculpture that could lend itself to idolatry.[325] (This tabu, like the monotheistic idea, was itself the outcome of political and social causation, which is in large part traceable and readily intelligible.) In Italy, in the early historic period, outside of Etruria, there had been no process of culture-contact sufficient to develop any of the arts in a high degree; and the relation of the Romans to the other Italian communities in terms of situation and institutions[326] was fatally one of progressive conquest. Their specialisation was thus military or predaceous; and the formal acceptance of the deities of the conquered communities could not prevent the partial uniformation of worship. Thus Rome had nearly everything to learn from Greece in art as in literature. In Egypt, again, where sculpture had at more than one time, in more than one locality, reached an astonishing excellence,[327] the easily maintained political centralisation[328] and the commercial isolation made fatally for uniformity of ideal; and the secure dominion of the organised priesthood, cultured only sacerdotally, always strove to impose one stolid conventional form on all sacred and ritual sculpture,[329] which was copied in the secular, in order that kings should as much as possible resemble Gods. Where the bulk of Greece was "servile to all the skyey influences," physically as well as mentally, open on all sides to all cultures, all pressures, all stimuli, Egypt and Judea and Persia were relatively iron-bound, and early Rome relatively inaccessible. Finally, as militarism never spread Spartan-wise over pre-Alexandrian Greece, and her natural limitations prevented any such exploitation of labour as took place in Egypt, the prevailing ideal in times of peace, at least in Attica, was that of the cultured man, kalokagathos, supported by slave labour but not enormously rich, who stimulated art as he was stimulated by it. Assuredly he was in many cases a dilettante, if not an amateur, else had art been in a worse case.