Cheronea was the grave of Grecian excellence, as Marathon had been the glorious scene of its birth. The principle of despotism there came into collision with that of democracy, and with fearful odds in favor of the former; but the result first demonstrated, as was afterward repeated at Thermopylæ, Salamis, and Platæa, the difference between the man who fights for another and him who contends for his own rights. From the days of Themistocles to the present hour, no writer has discussed the nature and influence of free institutions without drawing largely from this portion of Grecian heroism. It is impossible to estimate the influence of those battles on the destinies of mankind, as in all succeeding ages they have constituted the staple of patriotic appeal, the battle-cry of desperate struggles, and thrilling key-notes of triumphant songs. Thus consecrated to free government by martyred patriots, they are the universal watchwords of independence throughout the world. The calm fortitude of that invincible age was expressed in every department of art, even its melody. Music was an accomplishment in which the Greeks generally excelled. Alcibiades, however, surrendered the use of the flute, because it deranged the beauty of his features; and Themistocles, also, rejected its instruments, saying, "It is true I never learned how to tune a harp, or play upon a lute, but I know how to raise a small city to glory and greatness." Perhaps the best instance and symbol of all was Achilles. He was fed on the marrow of lions, and trained for conflict by the centaur Chiron, who was not less skillful in music than in the art of war. Resting from the chase of wild beasts in the desert, or, after the victorious fight with Trojans, sitting alone by the sea-shore, the lyre was the companion of his leisure, and, playing with its chords, he could control inward wrath by his own melody.