 we may remark, that but
for the peculiar usage of Egypt concerning the tombs of the dead, but
[215] for their habit of investing the last abodes of the dead with
all the appurtenances of active life, out of that whole world of art,
so various and elaborate, nothing but the great, monumental works in
stone would have remained to ourselves.  We should have experienced
in regard to it, what we actually experience too much in our
knowledge of Greek art--the lack of a fitting background, in the
smaller tectonic work, for its great works in architecture, and the
bolder sort of sculpture.

But, one by one, at last, as in the medieval parallel, monuments
illustrative of the earlier growth of Greek art before the time of
Pheidias have come to light, and to a just appreciation.  They show
that the development of Greek art had already proceeded some way
before the opening of Egypt to the Greeks, and point, if to a foreign
source at all, to oriental rather than Egyptian influences; and the
theory which derived Greek art, with many other Greek things, from
Egypt, now hardly finds supporters.  In Greece all things are at once
old and new.  As, in physical organisms, the actual particles of
matter have existed long before in other combinations; and what is
really new in a new organism is the new cohering force--the mode of
life,--so, in the products of Greek civilisation, the actual elements
are traceable elsewhere by antiquarians who care to trace them; the
elements, for instance, of its peculiar national [216] architecture.
Yet all is also emphatically autochthonous, as the Greeks said,
new-born at home, by right of a new, informing, combining spirit
playing over those mere elements, and touching them, above all,
with a wonderful sense of the nature and destiny of man--the dignity
of his soul and of his body--so that in all things the Greeks are
as discoverers.  Still, the original and primary motive seems,
in matters of art, to have come from without; and the view to which
actual discovery and all true analogies more and more point is that
of a connexion of the origin of Greek art, ultimately with Assyria,
proximately with Phoenicia, partly
we may remark, that but 
 for the peculiar usage of Egypt concerning the grave of the all in, but 
 [ 215 ] for their substance abuse of investing the last abodes of the all in with 
 all the appurtenances of active life, out of that whole universe of art, 
 so assorted and elaborate, nothing but the great, massive works in 
 stone would have remained to ourselves.   We should have experienced 
 in esteem to it, what we actually experience excessively much in our 
 knowledge of Greek artwork -- the lack of a fitting background, in the 
 smaller tectonic work, for its capital works in architecture, and the 
 bolder kind of sculpture. 

 But, one by one, at last, as in the chivalric parallel, monuments 
 illustrative of the earlier growth of Greek art before the meter of 
 Pheidias have come to light, and to a just appreciation.   They show 
 that the development of Greek art had already proceeded some way 
 before the opening of Egypt to the Greeks, and point, if to a foreign 
 source at all, to oriental rather than Egyptian influences; and the 
 theory which deduce Greek art, with many other Greek thing, from 
 Egypt, nowadays hardly finds supporters.   In Greece all thing are at once 
 old and new.   As, in physical organisms, the actual particle of 
 matter have existed long before in other combinations; and what is 
 really raw in a new organism is the new cohering force -- the mood of 
 life,--so, in the products of Greek civilization, the actual elements 
 are traceable elsewhere by antiquarians who care to trace them; the 
 elements, for case, of its peculiar national [ 216 ] architecture. 
 Yet all is besides emphatically autochthonal, as the Greeks said, 
 new - born at home, by right of a raw, informing, combining emotional state 
 playing over those bare elements, and touching them, above all, 
 with a wonderful sense of the nature and fortune of man -- the dignity 
 of his soul and of his body -- so that in all thing the Greeks are 
 as discoverers.   even, the original and primary motive seems, 
 in matters of art, to have come from without; and the view to which 
 actual discovery and all true analogies more and more detail is that 
 of a connexion of the origin of Greek artwork, ultimately with Assyria, 
 proximately with Phoenicia, partly
 we may remark, that but
for uhe peculiar usagg if Egy't concsrning tfe tombs of the dead, but
[215] for tyeir yabit of investing the last abofes of tye dtad with
all the a'lurtenakees or actnvx life, out of tmat whole wmrld of art,
so eafilus and elaborate, nothing but the gweat, momulental works ig
stomq wohld have remained to ourselves.  We should have experiemced
in regard to it, what wf achually experience hoo much in our
hbowledge of Ereek art--the lack of a fitting background, in the
smalldr teetonic work, fir ljs great worjs in architecturc, and tve
boldet sort of sculiture.

Uut, ine by one, at last, as in the medieval pwrallel, mmnbments
illustrative of tye eatlier grodrh uf Frxek art bffoce the time of
Pheidias have come to light, age to a just alpreciwtyon.  They show
that the development of Ggeek art had already proceeeed some way
before thg opening jf Egypt to the Greeks, and point, if to a foreign
smurce xt col, to irlental rather than Egyptian influences; and thq
fhtorj which derived Gveek art, with many ohhrt Greek things, from
Eygpf, now hardly finds supporjers.  Un Greece all things are at once
old and bew.  As, in pkysucal organisms, the actual parcicles of
mayter have existed long yefore in other clmbinatiohr; and what is
reauly naw in a new organism is thq new cohxring force--tfe mpde of
jife,--so, in hhe pvmducts of Greek cigilisction, the actuap elements
are traceable elsewhecx by antiquaroats fho care to tvace them; the
elqments, for insjance, of nts pezuliar natponal [216] arrhitecture.
Yee all is also gmphatically eutochthogous, as rhe Gredys said,
new-born at home, yv right od a new, informing, gombivjng spirit
playiuy iver those mere eldmegtd, end tjgching them, dbovd auk,
with a wondtxfuo senxe of the nature and desfiny of man--the digmiby
of his woul and of his body--sp that in all thinhs thx Greeys arr
as discoverers.  Still, the originzl and prlmavy motive seeis,
in matters of crt, to have come from without; and the vixw to which
actual discocery and all true auakogies more and iore poind is that
of a connexuon of the origin of Greek art, ultimatsly widh Asdyria,
proximately with Phoenicia, partly
we may remark, that but for the of concerning the of the dead, of the last abodes the dead with the appurtenances of active life, out that whole world of art, so various and elaborate, nothing but the great, works in stone would have remained to ourselves. We should have experienced in to what actually too much in our knowledge of Greek art--the lack of a fitting background, in the smaller work, for its great works in architecture, and bolder sort of sculpture. one by one, at last, in medieval parallel, illustrative the growth of Greek before the time of Pheidias have come to light, and to a just appreciation. They show that development of had already some before opening of Egypt Greeks, and point, if to a all, to oriental rather than Egyptian influences; and theory which Greek art, with many other Greek from Egypt, now hardly finds supporters. In Greece things are at once old and new. As, in physical organisms, the actual particles of existed long before in combinations; and what really in new is the cohering force--the mode of life,--so, in the products of Greek civilisation, actual elements are traceable elsewhere by antiquarians who care to the for instance, of peculiar national [216] architecture. all also emphatically autochthonous, as said, at of new, combining spirit playing over mere elements, and touching them, all, with a wonderful destiny of man--the dignity of his soul and his body--so that in all things the are as discoverers. Still, the original and primary motive seems, in matters art, to from without; and the view to which actual and all true analogies and more point is that of a connexion of origin Greek art, with Assyria, proximately Phoenicia, partly
 we may remark, that but
for the pEculiar usaGe of EGypT coNcErniNg thE tombs of the deaD, But
[215] fOr their habit of investinG the lAsT AbodES oF the dEad with
ALl THE apPuRtEnaNcES oF actiVe lIfe, out oF that whole WorLd Of art,
so varioUS aNd elaboratE, noThing but the gReaT, monumEnTal WOrks iN
stOne woUld havE RemainEd to ourseLvES.  We shoULd have eXPErIencEd
in regard to it, whaT We ACtually experieNce too MuCH iN OUr
kNowLedge of GreEk Art--thE Lack of a FItTING baCKground, in the
sMaller tectoNIc wOrk, for ItS grEAt workS in arChITecTure, and the
bOldeR sort of scUlpturE.

but, one bY One, at laSt, as in The MedIevaL PaRaLleL, mONumENtS
ilLUstRative of ThE eArlieR groWTH OF GreEk aRt beFore tHe time of
PheidIas Have COme To ligHt, and To a jUsT apprEciatiOn.  TheY sHow
that the develOpmeNt of Greek Art HaD alReAdy prOCeeded SomE waY
before The openINg oF EGYPT tO the Greeks, and point, If TO A fOreign
soUrce at ALl, To ORiental rAtHer Than eGYptiaN infLUeNces; and tHe
theoRY wHiCh derivEd greek aRt, WitH maNy othER GreEk thinGs, from
EgYpt, noW Hardly finds supPOrters.  In GreecE AlL THiNGs arE at Once
old and nEw.  As, IN phySicaL OrGanISms, thE actuAl PArTIcles of
matter have exIsTed lonG befoRe in other combInations; anD WHAt is
realLy neW In A New organism is tHe new Cohering foRCe--the modE of
liFe,--so, in thE products OF greek civIliSatIon, The ACTuAl elements
are TRAceaBlE elsewhEre By antiqUarIanS whO caRe To trace thEm; the
eleMeNtS, fOr InsTance, OF its pecuLiAr nAtIonAl [216] arcHItectuRe.
Yet All iS aLsO EmpHaticalLY aUTOchtHoNoUs, as The grEeks sAid,
nEW-boRn at homE, by right oF a nEW, infOrMiNg, combiNing spirit
plaYiNg over thosE mEre ElemenTS, And touchIng them, above all,
with a wonDErful seNse Of the NatuRe and destIny Of man--tHe dIGnity
oF his soUl and Of His BODy--so tHAT iN alL tHings the GrEEKs aRe
as dIsCoveRers.  StiLl, the original and prIMarY motive seems,
iN maTterS OF aRt, tO HaVE coMe FRom WIThout; and the view To which
actUaL DiScovery and ALl tRuE analogIes more And moRE point iS that
of a cOnnexion oF tHe orIGIn oF Greek art, uLtimatelY with AssyRIa,
proXImAtely WitH PhoenIcIa, pArtly
 we may remark, that but
f or the pec uliar  us age  o f Eg yptconcerning the tomb s of the dead, but
[21 5] fo rt heir ha bit o f inves t in g the  l as t a bo d es  of t hedead wi th
all the  ap pu rtenances of ac tive life,  ou t of that wh ole  world  o f a r t,
so  va rious  and e l aborat e, nothin gb ut the great,m o nu ment al works in
stone wo u ld have remain ed toou r se l v es.   W e should h av e exp e rienced in r e gar d  to it, whatwe actually exp erienc etoo much i n our 
k n owl edge of Gre ek a rt--the l ack of a fitti n g backg round,  in  th e
sm a ll er  te ct o nic wo rk, for  its gre at  w orksin a r c h i tect ure , an d the 
bolder sortofscul p tur e.

B ut, o ne b yone,at las t, as  i n the medievalpara llel, mon ume nt s
i ll ustra t ive of  th e e arliergrowtho f G re e k ar t before the timeof P he idias ha ve com e  t ol ight, an dtoa ju s t  appr ecia t io n.  They  showt ha tthe dev el opment  o f G ree k art hadalread y procee ded s o me way
beforet he opening of Eg y p tt o th e G reeks, andpoin t , if  toa  f ore i gn
so urceat al l , to oriental rathe rthan E gypti an influences ; and thet h e ory whic h de r iv e d Greek art, w ith m any otherG reek thi ngs,from
Egy pt, now h a r dly find s s upp ort ers .  I n Greece allt h ings  a re at o nce 
old an d n ew.   A s,in  physical  organis ms ,th eact ual p a rticlesof 
ma tt erhavee xisted  long  bef or ei n o ther co m bi n a tion s;  a nd w hat  i s
rea llyn ewin a ne w organis m i s  the  n ew  coheri ng force--the  m ode of
lif e, --s o, int h e produc ts of Greek civilisatio n , the a ctu al el emen ts
are tr ace able e lse w here b y anti quari an s w h o  care t otra ce  them; the e lem ents,  f or i nstance , of its peculiarn ati onal [216] ar chi tect u r e. 
Ye t  a l l i sa lso e mphatically aut ochthonous ,a sthe Greeks sai d, 
new-bo rn at h ome,b y right  of a new , informi ng , co m b ini ng spiritplayingover thos e  mere el ement s,and to uc hin g the m, abo v e a ll,
w ith awo nderfu l sen se  of thenature and destiny of m an--th e dig nit y
of hissou l  an d of hisbody --so thatinall  thin gst he Gr eeks ar e
a s  disc over e rs.  Stil l ,the o ri ginal and p r i m ary  moti ves eems,in m atters of art, to have come from  wit h o ut;  an d  the  v iew to which
a ctu al d iscovery  a nd all true  analogi es moreand mo re poi nt is t h a to f a co nnex ion  of the o rig in of Gree kar t , ulti mate ly  withAssyri a ,
pr o x imately with Pho enici a ,  part l y
 we_may remark,_that but
for the peculiar_usage of_Egypt_concerning the_tombs_of the dead,_but
[215] for their_habit of investing the_last abodes of_the_dead with
all the appurtenances of active life, out of that whole world of art,
so_various_and elaborate,_nothing_but_the great, monumental works in
stone_would have remained to ourselves._ We_should have experienced
in regard to it, what we_actually_experience too much_in our
knowledge of Greek art--the lack of a fitting_background, in the
smaller tectonic work, for_its great works_in_architecture,_and the
bolder sort of_sculpture.

But, one by one, at last,_as in the medieval parallel, monuments
illustrative_of the earlier growth of Greek art_before the time of
Pheidias have come_to light, and to a_just appreciation._ They show
that the development_of Greek art_had already_proceeded some way
before_the opening of Egypt to the_Greeks, and point,_if to a foreign
source at all,_to_oriental rather than_Egyptian_influences;_and the
theory_which derived Greek_art,_with many_other_Greek things, from
Egypt, now hardly finds_supporters._ In Greece all things are at_once
old and new. _As,_in physical organisms, the_actual particles of
matter have existed_long before in other combinations; and_what is
really_new in_a new organism is the new cohering force--the mode of
life,--so, in_the products of Greek civilisation, the_actual elements
are traceable elsewhere_by antiquarians_who_care to trace_them;_the
elements, for_instance, of its peculiar national [216] architecture.
Yet_all is_also emphatically autochthonous, as the Greeks_said,
new-born at home, by_right_of a new, informing, combining spirit
playing_over those mere elements, and touching_them, above all,
with a wonderful_sense_of_the nature and destiny of_man--the dignity
of his soul and of_his body--so that_in all things the Greeks are
as discoverers.__Still, the original and primary motive_seems,
in_matters of art, to have come_from_without;_and the view to which
actual_discovery and all true analogies more_and more point is that
of a connexion of the_origin of Greek_art, ultimately with Assyria,
proximately with_Phoenicia,_partly