When we come to deal with art, whether plastic art or the art of letters, there stands out the same difference of spirit. And on all sides it is admitted that in this region Hellenism reached nearly to perfection. It is scarcely worth while here to descant upon the work of Phidias or Sophocles, and to analyse its excellence. In the domain of art the word 'Hellenic' implies absolute truth of form, absolute truth of taste, grace and elegance. It means the selecting and simplifying of essentials into an ideal shape; and therefore it implies the absence of all superfluity, incongruousness, bombast, extravagance or purposelessness. The Parthenon and the statue of the grey-eyed goddess standing up in faultless symmetry against the clear blue sky of Attica; Plato's _Apology of Socrates_ breathing serene and lucid thought in language lucid and serene--these are the types of art as understood by the Hellenic spirit. We nowadays prate much of real and ideal. The Greek combined them without prating. The anatomy of a Grecian statue is anatomically true in proportion and in pose, while the whole figure is none the less of an ideal beauty which could rarely have existed outside the imagination. To the French the word _emphase_ has come to mean, not emphasis, but fustian. To the Greeks, with their love of measure, their instinctive avoidance of the "too much," _emphase_ in letters or other arts was irritating and distressful. Mr. Andrew Lang selects a sentence of Macaulay: "Even the wretched phantom who still bore the imperial title stooped to pay this ignominious blackmail." And Mr. Lang justly says: "The picture of a phantom who is not only a phantom, but wretched, stooping to pay blackmail which is not only blackmail, but ignominious, may divert the reader." The Greeks were neither deceived nor diverted by such bad art; their sympathies were chilled, and they called the thing "frigid." Meanwhile the special art of the Hebrews is, perhaps, the art of Mendelssohn and Meyerbeer, music which is so often joined to profound emotional susceptibility. They had no statuary, their architecture does not remain for us to criticise it, their literature alone supplies us with material for comparison, and even in this there is not that diversity of epic, dramatic, and lyric matter, of history, oratory and philosophy, which we have from Greece. Nevertheless, so far as material offers itself, we find in Hebrew art just those qualities we might expect from Hebraism.