tangible, no gladness in the beauty of girlish foreheads or the swiftness
of a young man's limbs, no simple idealisation of natural delightfulness.
The human body, which the figurative arts must needs use as the vehicle of
their expression, had ceased to have a value in and for itself, had ceased
to be the true and adequate investiture of thoughts demanded from the
artist. At best it could be taken only as the symbol of some inner
meaning, the shrine of an indwelling spirit nobler than itself; just as a
lamp of alabaster owes its beauty and its worth to the flame it more than
half conceals, the light transmitted through its scarce transparent walls.

In ancient art those moral and spiritual qualities which the Greeks
recognised as truly human and therefore divine, allowed themselves to be
incarnated in well-selected types of physical perfection. The deities of
the Greek mythology were limited to the conditions of natural existence:
they were men and women of a larger mould and freer personality; less
complex, inasmuch as each completed some one attribute; less thwarted in
activity, inasmuch as no limit was assigned to exercise of power. The
passions and the faculties of man, analysed by unconscious psychology, and
deified by religious fancy, were invested by sculpture with appropriate
forms, the tact of the artist selecting corporeal qualities fitted to
impersonate the special character of each divinity. Nor was it possible
that, the gods and goddesses being what they were, exact analogues should
not be found for them in idealised humanity. In a Greek statue there was
enough soul to characterise the beauty of the body, to render her due meed
of wisdom to Pallas, to distinguish the swiftness of Hermes from the
strength of Heracles, or to contrast the virginal grace of Artemis with
the abundance of Aphrodite's charms. At the same time the spirituality
that gave its character to each Greek deity, was not such that, even in
thought, it could be dissociated from corporeal form. The Greeks thought
their gods as incarnate persons; and all the artist had to see to, was