Moreover, we come to a clear threefold distinction and division hitherto neglected. We must at last sharply differentiate the artist, the work of art, and the spectator. The artist may, and usually indeed does, become the spectator of his own work, but the spectator is not the artist. The work of art is, once executed, forever distinct both from artist and spectator. In the primitive choral dance all three--artist, work of art, spectator--were fused, or rather not yet differentiated. Handbooks on art are apt to begin with the discussion of rude decorative patterns, and after leading up through sculpture and painting, something vague is said at the end about the primitiveness of the ritual dance. But historically and also genetically or logically the dance in its inchoateness, its undifferentiatedness, comes first. It has in it a larger element of emotion, and less of presentation. It is this inchoateness, this undifferentiatedness, that, apart from historical fact, makes us feel sure that logically the dance is primitive. * * * * * To illustrate the meaning of Greek sculpture and show its close affinity with ritual, we shall take two instances, perhaps the best-known of those that survive, one of them in relief, the other in the round, the Panathenaic frieze of the Parthenon at Athens and the Apollo Belvedere, and we shall take them in chronological order. As the actual frieze and the statue cannot be before us, we shall discuss no technical questions of style or treatment, but simply ask how they came to be, what human need do they express. The Parthenon frieze is in the British Museum, the Apollo Belvedere is in the Vatican at Rome, but is readily accessible in casts or photographs. The outlines given in Figs. 5 and 6 can of course only serve to recall subject-matter and design. * * * * * The Panathenaic frieze once decorated the _cella_ or innermost shrine of the Parthenon, the temple of the Maiden Goddess Athena. It twined like a ribbon round the brow of the building and thence it was torn by Lord Elgin and brought home to the British Museum as a national trophy, for the price of a few hundred pounds of coffee and yards of scarlet cloth. To realize its meaning we must always think it back into its place. Inside the _cella_, or shrine, dwelt the goddess herself, her great image in gold and ivory; outside the shrine was sculptured her worship by the whole of her people. For the frieze is nothing but a great ritual procession translated into stone, the Panathenaic procession, or procession of _all_ the Athenians, of all Athens, in honour of the goddess who was but the city incarnate, Athena.