In Pheidias' own work we might have seen the influx at that moment when, shining through the soul plane, its rays fell full on the physical, to impress and impregnate that with the splendor of the Soul. We might have seen that it was still the Soul that held his attention, although the body was known thoroughly and mastered: that it was the light he aimed to express, not the thing it illumined. In the work of his pupils, the preoccupation is with the latter; we see the physical grown beautiful under the illumination of the Soul; not the Soul that illumines it. The men of the Egyptian sculptors had been Gods. The Gods of these Greek sculptors were men. Perfect, glorious, beautiful men --so far as externals were concerned. But men--to excite personal feeling, not to quell it into nothingness and awe. The perfection, even at that early stage and in the work of the disciples of Pheidias, was a quality of the personality. It was indeed marvelously near the point of equilibrium: the moment when Spirit enters conquered matter, and stands there enthroned. In Pheidias himself I cannot but think we should have found that moment as we find it in Aeschylus. But you see, it is when that has occurred: when Spirit has entered matter, and made the form, the body, supremely beautiful; it is precisely then that the moment of peril comes--if there is not the wisdom present that knows how to avoid the peril. The next and threatening step downward is preoccupation with, then worship of, the body.