If we consider these divinities in their particular, and no longer in their general character, we see that they form a plurality, a whole, a totality, which is _polytheism_. Each particular god, while having his proper and original character, is himself a complete whole; he also possesses the distinctive qualities of the other divinities. Hence the richness of these characters. It is for this reason that the Greek polytheism does not present a systematic whole. Olympus is composed of a multitude of distinct gods, who do not form an established hierarchy. Rank is not rigorously fixed, whence the liberty, the serenity, the independence of the personages. Without this apparent contradiction, the divinities would be embarrassed by one another, shackled in their development and power. In place of being true persons, they would be only allegorical beings, or personified abstractions. As to their sensuous representation, sculpture is, moreover, the art best adapted to express this particular characteristic of the nature of the gods. By combining with immovable grandeur the individuality of features peculiar to each of them, it fixes in their statues the most perfect expression of their character, and determines its definite form. Sculpture, here again, is more ideal than poetry. It offers a more determined and fixed form, while poetry mingles with it a crowd of actions, of histories and accidental particulars. Sculpture creates absolute and eternal models; it has fixed the type of true, classic beauty, which is the basis of all other productions of Greek genius, and is here the central point of art. But in order to represent the gods in their true _individuality_, it does not suffice to distinguish them by certain particular attributes. Moreover, classic art does not confine itself to representing these personages as immovable and self-absorbed; it shows them also in movement and in action. The character of the gods then particularizes itself, and exhibits the special features of which the physiognomy of each god is composed. This is the accidental, positive, historic side, which figures in mythology and also in art, as an accessory but necessary element.