These last words lead me to a further remark. I doubt whether it is correct, strictly speaking, to consider this _phronesis_ as a general faculty, directing and perfecting all the virtues at once. So understood, it is little better than an abstract term, including under it a circle of analogous faculties, severally proper to the separate virtues. Properly speaking, there are as many kinds of _phronesis_ as there are virtues; for the judgment, good sense, or tact which is conspicuous in a man’s conduct in one subject-matter, is not necessarily traceable in another. As in the parallel cases of memory and reasoning, he may be great in one aspect of his character, and little-minded in another. He may be exemplary in his family, yet commit a fraud on the revenue; he may be just and cruel, brave and sensual, imprudent and patient. And if this be true of the moral virtues, it holds good still more fully when we compare what is called his private character with his public. A good man may make a bad king; profligates have been great statesmen, or magnanimous political leaders. So, too, I may go on to speak of the various callings and professions which give scope to the exercise of great talents, for these talents also are matured, not by mere rule, but by personal skill and sagacity. They are as diverse as pleading and cross-examining, conducting a debate in Parliament, swaying a public meeting, and commanding an army; and here, too, I observe that, though the directing principle in each case is called by the same name,—sagacity, skill, tact, or prudence,—still there is no one ruling faculty leading to eminence in all these various lines of action in common, but men will excel in one of them, without any talent for the rest. The parallel may be continued in the case of the Fine Arts, in which, though true and scientific rules may be given, no one would therefore deny that Phidias or Rafael had a far more subtle standard of taste and a more versatile power of embodying it in his works, than any which he could communicate to others in even a series of treatises. And here again genius is indissolubly united to one definite subject-matter; a poet is not therefore a painter, or an architect a musical composer. And so, again, as regards the useful arts and personal accomplishments, we use the same word “skill,” but proficiency in engineering or in ship-building, or again in engraving, or again in singing, in playing instruments, in acting, or in gymnastic exercises, is as simply one with its particular subject-matter, as the human soul with its particular body, and is, in its own department, a sort of instinct or inspiration, not an obedience to external rules of criticism or of science.