of the bases of religion and art by all subsequent peoples. The words of Plato are: "Long ago they appeared to recognize the very principle of which we are now speaking—that their young citizens must be habituated to forms and strains of virtue. These they fixed, and exhibited patterns of them in their temples; and no painter or artist is allowed to innovate upon them, or to leave the traditional forms, or invent new ones. To this day no alteration is allowed, either in those arts or in music, at all. And you will find that their works of art are painted or moulded in the same forms that they had ten thousand years ago (this is literally true, and no exaggeration), their ancient paintings and sculptures are not a whit better, or worse than the work of to-day, but are made with just the same skill." ("Laws," 656. Jowett's translation, vol. v., p. 226). What this canon of art actually was is now unknown, but it is possible to discover the traces of it in the religion and art of the Greeks and Christians.
Theology, in its various forms, has always been the epitome of art, and constituted the law for its guidance. From the times of ancient Egypt this law has been a sacred arcanum, only communicated by symbols and parables, the making of which, in the ancient world, constituted the most important form of literary art; it therefore required for its exposition a priestly caste, trained in its use, and the guilds of initiated artists, which existed throughout the world till comparatively recent times, were instructed in it. Now-a-days, all this is changed. Theology has dropped her secrets; her symbols have become meaningless ornaments, and her parables are no longer understood. The artist in the service of the Church no longer represents her mysteries in metaphorical shapes, and the priests have as little skill in the old art of
