Footnote 124: Phidias, and through him his patron Pericles, were attacked for alleged introduction of portraits upon the shield of Athene Parthenos. In Western religious art, on the contrary, portraiture was, as everyone knows, a habitual practice. Every Madonna, for instance, is more or less of a portrait. With this may be compared again the growing resistance of Byzantine art, as it matured, to portraiture in sacred surroundings, evidenced for instance in the history of the _nimbus_ or halo—which was removed from the insignia of the Prince to become the badge of the Saint—in the legend of the miraculous effacement of Justinian’s pompous inscription on Hagia Sophia, and in the banishment of the human patron from the celestial part of the church to the earthly.—_Tr._ Footnote 125: Who was criticized as “no god-maker but a man-maker” and as one who spoilt the _beauty_ of his work by aiming at _likeness_. Cresilas, the sculptor from whom the only existing portrait of Pericles is derived, was a little earlier; in him, however, the “ideal” was still the supreme aim.—_Tr._ Footnote 126: The writers immediately succeeding Aristophanes.—_Tr._ ----- V In the capacity of experientially living history and the way in which history, particularly the history of personal becoming, is lived, one man differs very greatly from another. Every Culture possesses a wholly individual way of looking at and comprehending the world-as-Nature; or (what comes to the same thing) it _has_ its own peculiar “Nature” which no other sort of man can possess in exactly the same form. But in a far greater degree still, every Culture—including the individuals comprising it (who are separated only by minor distinctions)—possesses a specific and peculiar sort of history—and it is in the picture of this and the style of this that the general and the personal, the inner and the outer, the world-historical and the biographical becoming, are immediately perceived, felt and lived. Thus the autobiographical tendency of Western man—revealed even in Gothic times in the symbol of auricular confession[127]—is utterly alien to Classical man; while his intense historical awareness is in complete contrast to the almost dreamy unconsciousness of the Indian. And when Magian man—primitive Christian or ripe scholar of Islam—uses the words “world-history,” what is it that he sees before him?