pathos and passion, which is none the less intense and real because it is expressed by means of the perfection of physical form, not as wasting or deforming it. It may be asked how the invisible, mental, or spiritual qualities can be portrayed in visible form, especially if that visible form be not overmuch distorted or modified, and in a more general way, how the expression of a statue, and the impression it produces, can be analysed or discussed. For examples of the way this can be done, the reader may be referred once more to Brunn's _Gotteridealen_, a study of a few selected representations of Greek gods in which the character of each is brought out by a subtle and discriminating analysis of the visible forms. Here it may suffice to quote Brunn's own words from the Introduction to that work: "The spiritual effect produced on us by a work of sculpture cannot be comprehended as a moral or a metaphysical peculiarity, completely independent of corporeal phenomena; it can become intelligible to us only by means of tangible sculptural forms, as the exponents of spiritual expression." And again: "The spiritual understanding of ideal artistic creations can only be attained on the basis of a thorough analysis of their forms"; hence in such a study we have to do with "no subjective fancies, but an investigation of objective artistic principles, according to the method of scientific work." There are various ways in which spiritual qualities, mood, and character may be given material expression in harmony with the bodily forms, not in combat with the flesh. There are, for instance, certain bodily peculiarities that usually accompany, and therefore suggest by association, various temperaments or mental qualities; and, moreover, the actual effect upon the features and bearing of certain emotions or moods often leaves permanent traces, from which a habitual or repeated tendency to such emotions or moods can be inferred. That certain types of face and certain expressions are usually associated with certain spiritual or mental qualities will hardly be denied; and here the method of the Greek artist, in observing and working from memory rather than from a posed model, gave him a great advantage in variety and freedom in the expression of character no less than in the rendering of bodily form. If he realised clearly the individuality of his gods, his skill and mastery over his material and his store of observation gave him a facility in giving this individuality a visible form which may not be so obvious at first sight as the individuality of a Florentine or of a modern head, but which is none the less there for those who have eyes to see it, and who can accustom themselves to the subtle atmosphere of ancient art, and to the moderation and restraint which are seldom, if ever, violated in its most characteristic productions. CHAPTER IV ANTHROPOMORPHISM