In order that the two elements of beauty may be perfectly harmonized, it is necessary that the first, the idea, be the spirit itself, possessed of the consciousness of its nature and of its free personality. If one is then asked, what is the form which corresponds to this idea, which expresses the personal, individual spirit, the only answer is, _the human form_, for it alone is capable of manifesting spirit. Classic art, which represents free spirituality under an individual form, is then necessarily anthropomorphic. Anthropomorphism is its very essence, and we shall do it wrong to make of this a reproach. Christian art and the Christian religion are themselves anthropomorphic, and this they are in a still higher degree since God made himself really man, since Christ is not a mere divine personification conceived by the imagination, since he is both truly God and truly man. He passed through all the phases of earthly existence; he was born, he suffered, and he died. In classic art sensuous nature does not die, but it has no resurrection. Thus this religion does not fully satisfy the human soul. The Greek ideal has for basis an unchangeable harmony between the spirit and the sensuous form, the unalterable serenity of the immortal gods; but this calm is somewhat frigid and inanimate. Classic art did not take in the true essence of the divine nature, nor penetrate the depths of the soul. It could not unveil the innermost powers in their opposition, or re-establish their harmony. All this phase of existence, wickedness, misfortune, moral suffering, the revolt of the will, gnawings and rendings of the soul, were unknown to it. It did not pass beyond the proper domain of sensuous beauty; but it represented it perfectly. This ideal of classic beauty was realized by the Greeks. The most favorable conditions for unfolding it were found combined among them. The geographical position, the genius of that people, its moral character, its political life, all could not but aid the accomplishment of that idea of classic beauty, whose characteristics are proportion, measure, and harmony. Placed between Asia and Europe, Greece realized the accord of personal liberty and public manners, of the State and the individual, of spirit general and particular. Its genius, a mixture of spontaneity and reflection, presented an equal fusion of contraries. The feeling of this auspicious harmony pierces through all the productions of the Greek mind. It was the moment of youth in the life of humanity—a fleeting age, a moment unique and irrevocable, like that of beauty in the individual. Art attains then the culminating point of sensuous beauty under the form of plastic individuality. The worship of the Beautiful is the entire life of the Greek race. Thus religion and art are identified. All forms of Greek civilization are subordinate to art. It is important here to determine the new position of the artist in the production of works of art.