[255] I cannot dwell on the general aspects of this subject further, but I would remark that in art also the religion of Apollo was a sanction of, and an encouragement towards the true valuation of humanity, in its sanity, its proportion, its knowledge of itself. Following after this, Greek art attained, in its reproductions of human form, not merely to the profound expression of the highest indwelling spirit of human intelligence, but to the expression also of the great human passions, of the powerful movements as well as of the calm and peaceful order of the soul, as finding in the affections of the body a language, the elements of which the artist might analyse, and then combine, order, and recompose. In relation to music, to art, to all those matters over which the Muses preside, Apollo, as distinct from Hermes, seems to be the representative and patron of what I may call reasonable music, of a great intelligence at work in art, of beauty attained through the conscious realisation of ideas. They were the cities of the Dorian affinity which early brought to perfection that most characteristic of Greek institutions, the sacred dance, with the whole gymnastic system which was its natural accompaniment. And it was the familiar spectacle of that living sculpture which developed, perhaps, beyond everything else in the Greek mind, at its best, a sense of the beauty and significance of the human form. Into that bewildered, dazzling world of minute [256] and dainty handicraft--the chamber of Paris, the house of Alcinous--in which the form of man alone had no adequate place, and as yet, properly, was not, this Dorian, European, Apolline influence introduced the intelligent and spiritual human presence, and gave it its true value, a value consistently maintained to the end of Greek art, by a steady hold upon and preoccupation with the inward harmony and system of human personality. In the works of the Asiatic tradition--the marbles of Nineveh, for instance--and, so far as we can see, in the early Greek art, which derives from it, as, for example, in the archaic remains from Cyprus, the form of man is inadequate, and below the measure of perfection attained there in the representation of the lower forms of life; just as in the little reflective art of Japan, so lovely in its reproduction of flower or bird, the human form alone comes almost as a caricature, or is at least untouched by any higher ideal. To that Asiatic tradition, then, with its perfect craftsmanship, its consummate skill in design, its power of hand, the Dorian, the European, the true Hellenic influence brought a revelation of the soul and body of man.