In considering the scope for the exhibition of ideals in art, it should be remembered that ideal types of some of the principal personages in religious and mythological history have been already fixed by great artists, and it is impossible to depart from them without producing what would appear to be abnormal representations. Homer led the way with occasional hints of the presumed physical appearance of some of the leading deities of Greece, and except in the case of Aphrodite the later Grecian sculptors closely followed him. The Zeus of Homer as improved by Phidias has been the model of this deity in respect of form for nearly every succeeding sculptor to this day, while it was also the model which suggested the Christian Father as represented by the first artists of the Renaissance, though, as already indicated, the majestic dignity of the Phidian Zeus was partly sacrificed by the Christian artists. Phidias in fact created a type which, so far as human foresight can judge, must ever guide the artistic mind, whether portraying the mighty son of Kronos, or the God of the Christians. Only very rarely nowadays is the Christian Deity pictured in art, and as time goes on His introduction in human shape in a painting will become still more rare in conformity with changing religious ideas and practices; but now and hereafter any artist who contemplates the representation, must, voluntarily or involuntarily, turn to the frescoes of Raphael and Michelangelo for his guide. There is no tradition upon which to base an actual portrait of Christ. For the first four centuries A.D., when He was represented in art, it was usually by means of symbols, or as a young man without beard, but there are some Roman relics of the fifth century remaining in which He is depicted much in the later generally accepted type, with short beard and flowing hair. During the long centuries of the Dark Age, when religious art was practically confined to the Byzantine Greeks, Christ was almost invariably portrayed with a long face and emaciated features and limbs, as the epitome of sadness and sorrow. This expression was modified as the arts travelled to the north and west of Europe, and gradually His face began to assume more regularity and beauty. Then came Cimabue to sow the seed of the Renaissance, and with him the ideal of Christ was changed to a perfect man of flesh and blood. A century or more was occupied in establishing this ideal, but it was so established, and has maintained its position to this day.[38] [Illustration: PLATE 9 (See page 138) Raphael's Virgin of the Rose with the Face of "Profane Love" in Titian's Picture Substituted for that of the Virgin]