sopher Anaxagoras, and the astronomer Meton; it was at Athens that prose composition, which had hitherto been either colloquial or poetical, was first matured; at Athens, too, oratory first became the effective ally of statesmanship; both Tragedy and Comedy were perfected; the frescoes of Polygnotus, the architecture of Ictinus, the sculpture of Pheidias, combined to adorn the city; and when we think of these great writers and artists, we must remember that they are only some of the more eminent out of a larger number who were all living at Athens within the same period of thirty years. How far can this wonderful fact be directly connected with the influence of the political work done by Pericles, or with the personal influence of the man? We must beware of exaggerating such influences. Statesmanship may encourage men of genius, but it cannot make them. When we look back on that age, we seem to recognise in its abounding and versatile brilliancy rather the golden time of a marvellously gifted race, than merely the attraction which a city of unique opportunities exercised over the rest of the world. The great national victory over Persia had raised the vital energy of the Greek spirit to the highest. But we must also recollect that, owing to the very nature of Greek literature and art, such a city as the Athens of Pericles could do more for it than any modern city could do for modern art or literature. Greek literature was essentially spontaneous, the free voice of life, restrained in its freedom only by a sense of measure which was part
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