Take, lastly, the changed point of view towards the human body. With the victory of the Arabian world-feeling, men’s conception of it underwent a complete revolution. In almost every Roman head of the period 100-250 that the Vatican Collection contains, one may perceive the opposition of Apollinian and Magian feeling, and of muscular position and “look” as different bases of expression. Even in Rome itself, since Hadrian, the sculptor made constant use of the drill, an instrument which was wholly repugnant to the Euclidean feeling towards stone—for whereas the chisel brings out the limiting surfaces and _ipso facto_ affirms the corporeal and material nature of the marble block, the drill, in breaking the surfaces and creating effects of light and shade, denies it; and accordingly the sculptors, be they Christian or “pagan,” lose the old feeling for the phenomenon of the naked body. One has only to look at the shallow and empty Antinous statues—and yet these were quite definitely “Classical.” Here it is only the head that is physiognomically of interest—as it never is in Attic sculpture. The drapery is given quite a new meaning, and simply dominates the whole appearance. The consul-statues in the Capitoline Museum[270] are conspicuous examples. The pupils are bored, and the eyes look into the distance, so that the whole expression of the work lies no longer in its body but in that Magian principle of the “Pneuma” which Neo-Platonism and the decisions of the Church Councils, Mithraism and Mazdaism alike presume in man. The pagan “Father” Iamblichus, about 300, wrote a book concerning statues of gods in which the divine is substantially present and working upon the beholder.[271] Against this idea of the image—an idea of the Pseudomorphosis—the East and the South rose in a storm of iconoclasm; and the sources of this iconoclasm lay in a conception of artistic creation that is nearly impossible for us to understand. ----- Footnote 238: H. Schäfer, _Von Aegyptischer Kunst_, I, pp. 15 et seq. (The bulls are shown in Fig. 18 in the article _Egypt_ in the Encyclopædia Britannica, XI Edition, Vol. IX, pp. 65-66.—_Tr._) Footnote 239: Frankl, _Baukunst des Mittelalters_ (1918), pp. 16 et seq. Footnote 240: See Vol. II, pp. 361 et seq. The lack of any vertical tendency in the Russian life-feeling is perceptible also in the saga-figure of Ilya Murometz (see Vol. II, p. 231). The Russian has not the smallest relation with a _Father_-God. His ethos is not a filial but purely a _fraternal_ love, radiating in all directions along the human plane. Christ, even, is conceived as a Brother. The Faustian, wholly vertical, tendency to strive up to fulfilment is to the real Russian an incomprehensible pretension. The same absence of all vertical tendency is observable in Russian ideas of the state and property. Footnote 241: The cemetery church of Kishi has 22. Footnote 242: