Perhaps the greatest charm of Athens and of the islands and mountains round about it lies in their power to lure back your belief in a great many fine people of whose remarkable deeds you had grown sceptical—of whose existence even you had begun to doubt. It is something very serious when one loses faith in so delightful a young man as Theseus, and it is worth while sailing under the lee shores of Crete, where he killed the Minotaur, if for no other purpose than to have your admiration for him restored. If we could only be as sure of restoring by travel all of those other people of whom our elders ceased telling us when we left the nursery, I would head an expedition to the north pole, not to discover open seas and altitudes and eclipses and such weighty things, but to locate that nice and kindly old gentleman, and his toy store and his reindeer, who used to come at Christmas-time, and who has stopped coming since I left school. It is certainly worth while going all the way to Greece to see the Hill of the Nymphs, and the very cave where Pan used to sleep in the hot midday, and to thrill over the four crossroads and the high, gloomy pass where the Sphinx lay in wait for Œdipus with her cruel claws and inscrutable smile.

The story that must always strike every child as most sad and unsatisfactory is the one which tells us how the father of Theseus killed himself when his son came sailing back triumphant, and so gallantly engaged in entertaining the beautiful Athenian maidens whose lives he had saved that he forgot to hoist the white sails, and caused his father to throw himself off the high rocks in despair.

This used to appeal to me as one of the most pathetic incidents in history; but as time wore on my sympathy for the father and indignation against Theseus passed away, and I forgot about them both. But when they point out where the black sails were first seen entering the bay, and you stand on the rock from which the people watched for Theseus, and from which his father threw himself down, you feel just as sorry, and you rebel just as strongly against that morbid anticlimax, as you did when you first read the story in knickerbockers. It seems almost too sad to be true.

They had such a delightful way of mixing up the histories of gods and mortals in those days that the imaginative person who visits Athens will find himself gazing as gratefully and as open-eyed at the rocks in which the Centaur hid as at those from which Demosthenes delivered his philippics, just as in London the room at the Charter House where Colonel Newcome said "Adsum" for the last time is much more real than that room in Edinburgh in which Rizzio was killed, or as the rock from which Monte Cristo sprang, at the base of the ChÂteau d'If, is so much more actual than the entire field of Waterloo. It is hard to know just which was real and which a delightful myth; and yet there has been so little change in Greece since then that you are brought nearer to Alcibiades and to Pericles than you can ever come, in this world at least, to Dr. Johnson and Dean Swift. You cannot recreate Grub Street and the debtors' prison, but Euboea still "looks on Marathon, and Marathon on the sea," and, if you are presumptuous, you can strut up and down the rocky plateau from which Demosthenes spoke, or take your seat in one of the marble chairs of the Theatre of Dionysus, and pretend you are a worthy citizen of Athens listening to a satire of Sophocles.

The quiet and fresh cleanliness of modern Athens comes to you after the roar and dirt of Cairo's narrow lanes and dusty avenues like the touch of damask table linen and silver after the greasy oil-cloth of a Mediterranean coasting steamer. It is quiet, sunny, and well-bred. You do not fight your way through legions of donkey-boys and dragomans, nor are your footsteps echoed by swarms of guides and beggars. It is a pretty city, with the look of a water-color. The houses are a light yellow, and the shutters a watery green, and the tile roofs a delicate red, and the sky above a blue seldom shown to ordinary mortals, but reserved for the eyes of painters and poets, who have a sort of second sight, and so are always seeing it and using it for a background. Athens is a very new city, with new streets and new public buildings, and a new King and Royal Palace. It is like a little miniature. There is a little army, chiefly composed of officers, and a miniature cabinet, and a beautiful miniature university, and everybody knows everybody else; and when the King or Queen drives forth, the guard turns out and blows a bugle, and so all Athens, which is always sitting at the cafÉs around the square of the palace, nods its head and says, "The Queen is going for a drive," or, "Her Majesty has returned early to-day," and then continues to clank its sword and to twirl its mustache and to sip its coffee. Modern Athens tends towards the Frank in dress and habit of thought. The men have adopted his costume, and the women wear little flat curls like the French ladies in Le Figaro, and peaked bonnets and high heels.

The national costume of the Greeks is taken from the Albanians, but it is much more honored in the breach than in the observance. Like all national costumes, it is only worn, except for political effect and before a camera, by the lower classes, and also by three regiments of the army. You see it in the streets, but it is not so universally popular as one would suppose from the pictures of Athens in the illustrated papers and by the photographs in the shop-windows. It is a most remarkable costume, and as widely different from the flowing robe and short skirt of the early Greeks as men in accordion petticoats and heavy white tights and a Zouave jacket must evidently be. In the country it still obtains, and it is the farmers and peasants and their wives and the soldiers who supply the picturesque element of dress to the streets of the city.

It is an inscrutable problem why, with all the national costumes in the world to choose and pick from, the world should have decided upon the dress of the Frank, that is, of the foreigner—ourselves. In Spain the peasants have discarded their knickerbockers and short jackets, even in the country, for the long trousers and ill-fitting ready-made clothing of a French "sweater," and the Moors cover their robes with overcoats from Manchester, and the Arabs and Chinese and Swiss and Turks are giving up the picturesque garments that are comfortable and becoming to them, and look exceedingly ugly and uncomfortable in our own modern garb, which is the ugliest and most uncomfortable of national costumes yet devised by men or tailors. If you judge by the uniforms of the army of officers and by the dress of the women of Athens, you would think you were in a French city and among French people. It seems a pity that this should be so; that Athens, of all cities, should be built of Italian villas, inhabited by people who ape the French, and governed by a King from Denmark; still, they did not make a success of it when they tried, fifty years ago, to govern themselves. It is perhaps hardly fair to expect the Greeks, or even the Athenians, to live up to the great rock and the monuments that crown it, and the people of Greece are no doubt as fine as those of other little kingdoms or principalities scattered about Europe; but then the other kingdoms and principalities have not the history of early Greece to call their own nor the Acropolis to look up to.

The rock of the Acropolis is hardly more a part of modern Greece than the Rock of Gibraltar is a part of Spain. Geographically it is, but it belongs as much to the visitor as to the native, so little inspiration has he apparently drawn from it, and so little has it served to bring out in him to-day those qualities that made demigods of his ancestors. I think I represent the average intelligence, and yet at this moment I cannot think of any Greek within the last hundred years who has gained world-wide renown, either as a sculptor, an artist, a soldier, a writer of comedies and satires, a statesman, nor even as an archÆologist; the very historians of Greece and the exponents of its secrets and the most distinguished of its excavators are of other countries. They have many heroes of their own; you see their portraits or their photographs in every shop-window; but they are not as familiar to you as the faces and histories of those other Greeks who sighed because there were no more worlds, and whose fame has lasted long after the other worlds were discovered. One would think that some young Greek, on arising in the morning and seeing the Acropolis against the sky, would say to himself, "To-day I shall do something worthy of that." And were he to say that often enough, and try to live up to the fortress and the temple above him, he might help to make Greece in this known world what she was in the smaller world of her day of glory. It is not because the world has grown and given her more with which to compete that she has fallen into lesser and lesser significance; for though the world has increased in latitude and longitude, it has not yet carved another Hermes like that of Praxiteles; and though it has added three continents since his day, it has never equalled in marbles the fluttering draperies of the Flying Victory, nor the carvings over the doorway of the Erechtheum.

But, as far as in him lies, the Greek has endeavored to copy the traditions of his ancestors. He holds Olympic games in the ancient arena which King George has had excavated, and if victorious receives a wreath of wild olives from the hands of the King; and he builds the new market where the old market stood, and the new military hospital as near as is possible to the hospital of Æsculapius. But he cannot restore to the market-place that very human citizen who cast in his shell against Aristides because he was aweary of hearing him called the Just; nor can either his games or his hospital bring back the perfect figure and health of the men whose figures and profiles have set the model for all time. He has, however, retained the Greek language, which is very creditable to him, as it is a language one learns only after much difficulty, and then forgets at once. He even goes so far as to put up the names of the streets in Greek, which strikes the bewildered tourist trying to find his way back to his hotel as a trifle pedantic, and he prints his daily newspaper in this same tongue. This is, perhaps, going a little too far, as it leaves you in some doubt as to whether you have been reading of the Panama scandal or a reprint on the battle of Marathon.

Baron Sina, a Greek banker, has shown the most public-spirited and patriotic generosity, and taste as well, in erecting the buildings of the university at his own expense and giving them to the city. They are reproductions in many ways of different parts of the temples of the Acropolis in miniature. The Polytechnic is almost an exact copy of the front of the Parthenon. There is a picture of it from a photograph given in this article, but it can supply no idea of the beauty of the modern reproduction of this temple. The lines and measurements are the same in degree; and the Polytechnic, besides, is colored and gilded as was the original Parthenon, and for the first time makes you understand how brilliant reds and beautiful blues and gold and black on marble can be combined with the marble's purity and help rather than cheapen it. It is a lesson in loveliness, and is as wonderful and brilliantly beautiful a building as the marble and gold monument to the Prince Consort in Hyde Park is vulgar and atrocious. If this copy in miniature, this working model of the Parthenon, moves one as it does, it can be understood how great must be the strength and purity of the Parthenon, even in ruins, with its gilt washed to a dull brown and its colors and bass-reliefs stripped from its pediment. I shall certainly not attempt to describe it.

There are very few tourists who visit Athens in proportion to those who visit far less momentous ruins; thousands go to Rome and see the Colosseum, to Egypt and view the storied walls of the great rude temples along the Nile, and as many more make the tour of the English cathedral towns; but in Athens it is almost difficult to find a guide. There are not more than a half-dozen, I am sure, in the whole city, and the Acropolis is yours if you wish, and you are often as much alone as though you had been the first to climb its sides. I do not mean by this that it is neglected, or that relic-hunters may chip at it or carry away pieces of its handiwork, or broken bits of the Turkish shells that have shattered it, but the guards are unobtrusive, and you are free to wander in and out in this forest of marble and fallen trunks of columns as though you were the ghost of some Athenian citizen revisiting the scenes of his former life.

There is no question that half of the pleasure you receive in wandering over the top of this great wind-blown rock, with the surrounding snow-touched mountains on a level with your eye, and the great temples rearing above you or lying broken at your feet, magnificent even there, is due to your seeing them alone, to the fact that no guide's parrot-like volubility harasses you, no guard's scornful gloom chills your enthusiasm. The great bay of turquoise-blue and the green fields and the bunches of cactus and groves of dark olive-trees below are unspoiled by modern innovations, and the hills are still dotted with sheep and shepherds, as they were in the days of Sappho.

Overhead is the blue sky, with the ivory columns between, far below you is the steep naked rock, or, on the other hand, the two semicircles of marble seats cushioned with velvet moss and carpeted with daisies and violets, and beyond the limits of the yellow town and its red roofs and dark green gardens stretches the green plain until it touches the sea, or is blocked by Mount Hymettus or Mount Pentelicus, beyond which latter lies the field of Marathon. Sitting on the edge of the rock, you can imagine the actors strutting out into the theatre below, and the acquiescent chorus chanting its surprise or horror, and almost see the bent shoulders and heads of the people filling the half-circle and leaning forward to catch each word of the play as it comes to them through the actors' masks.

Sounds, no matter how far afield, drift to you drowsily, like the voice of one reading aloud on a summer's day—the bleating of the sheep in the valley where Plato argued, and the jangling of a goat's bell, or the laughter of children flying kites on the Pnyx, a quarter of a mile away. And beyond the reach of sound is the Ægean Sea weltering in the sun, with little three-cornered sails, like tops, or a great vessel drawing a chalk-line after it through the still surface of the water. All things are possible at such a time in this place. You can almost hear the bees on Mount Hymettus, and you would receive the advance of a Centaur as calmly as Alice noted the approach of the White Rabbit. You believe in nymphs and satyrs. They have their homes there in those caves, and in the thick green, almost black, woods at the base of the Parnes range, and you love the bravery of St. Paul, who dared to doubt such things when he stood on the rock at your feet and told the men of Athens that they were in many things too superstitious. It is something to have seen the ribs cut in the rock on the top of the Acropolis which kept the wheels of the chariots from slipping when the Panathenaic procession moved along the Via Sacra to the Eleusinian mysteries, to have looked upon the caryatides of the Erechtheum, and to have wanted back as a lost part of your own self, for the time being, the Elgin marbles. When Napoleon stole the Venus of Milo he placed her in the Louvre, where every one will see her sooner or later; for if he is good he goes to Paris when he dies, and if he is bad he is sure to go there in his lifetime. But who has ever been to the British Museum? One would as soon think of visiting Pentonville prison. And how do the marbles look under the soot-stained windows or the gray of London fog? Like the few Lord Elgin did not want, and that stand out like ivory in their proper height against the soft sky that knows and loves them? When the people of Great Britain have returned the Elgin marbles to Greece, and the Rock of Gibraltar to Spain, and the Koh-i-noor diamond to India, and Egypt to the Egyptians, they will be a proud and haughty people, and will be able to hold their heads as high as any one.

One cannot help feeling that the King of Greece has a much greater responsibility than he knows. Other monarchs must look after their boundaries; he must not only look after his boundaries, but his sky-line. Another such affront to good taste as the observatory on the Hill of the Nymphs, and the sky-line of Athens will be unrecognizable. And the tall chimneys at the PirÆus are not half as attractive to the view as the spars of the ships. It is much better not to have manufactories that must have chimneys than to spoil a view which no other kingdom can equal. Any king can put up a chimney; very few are given the care of an Acropolis; and if the King and Queen of Greece wish to be remembered as kindly by the rest of the world as they are loved dearly by their adopted people, they will guard the treasure put in their keeping, and sweep observatories from sacred hills, and continue to limit the guides on the Acropolis, and so win the gratitude of a civilized world.