The old religion was strong in the splendour of its art and its architecture. The severe, beautiful lines of the Greek temple are familiar to us still; and, until I saw the Taj, I think I should have doubted whether there could be anything more beautiful. Architecture was consecrated to the gods, and so was art. You go to Delphi, said Plutarch, and see those wonderful works of the ancient artists and sculptors, as fresh still as if they had left the chisel yesterday, and they had stood there for hundreds of years, wonderful in their beauty. Think of some of the remains of the Greek art--of that Victory, for instance, which the Messenians set on the temple at Olympia in 421 B.C. She stood on a block of stone on the temple, but the block was painted blue, so that, as the spectator came up, he saw the temple and the angle of its roof, and then a gap of blue sky and the goddess just alighting on the summit of the temple. From what is left of her, broken and headless, but still beautiful, we can picture her flying through the air--the wind has blown her dress back against her, and you see its folds freshly caught by the breeze. And all this the artist had disentangled from a rough block of stone--so vivid was his conception of the goddess, and so sure his hand. There are those who say that the conventional picture of God of the great artists is moulded after the Zeus of Pheidias. Egypt again had other portrayals of the gods--on a pattern of her own, strange and massive and huge, far older. About six hundred years before Christ the Egyptian King, Psammetichos (Psem Tek), hired Greek soldiers and marched them hundreds of miles up the Nile. The Greek soldiers, one idle day, carved their names on the legs of the colossal gods seated at Abu Symbel. Their names are found there to-day. So old are these gods.
The religion was strong in the splendour of its ceremony. Every year the Athenian people went to Eleusis in splendid procession to worship, to be initiated into the rites of the Earth-Mother and her virgin daughter, who had taught men the use of grain and the arts of farming-rites linked with an immemorial past, awful rites that gave men a new hope of eternal life. The Mother of the Gods, from Phrygia in Asia Minor, had her rites, too; and her cult spread all over the world. When the Roman poet, Lucretius, wants to describe the wonder and magic of the pageant of Nature in the spring-time he goes to the pomp of Cybele. The nearest thing to it which we can imagine is Botticelli's picture of the Triumph of Spring. Lucretius was a poet to whom the gods were idle and irrelevant; yet to that pageant he goes for a picture of the miraculous life of nature. More splendid still were the rites of the Egyptian Isis, celebrated all over the world. Her priests, shaven and linen-clad, carried symbols of an unguessed antiquity and magical power. They launched a boat with a flame upon it--on the river in Egypt, on the sea in Greece. All these cults made deep impressions on the worshippers, as our records tell us. The appeal of religious emotion was noticed by Aristotle, who remarked, however, that it was rather feeling than intellect that was touched--a shrewd criticism that deserves to be remembered still.