In the first place, it does not mean that Greek art is what we call 'naturalist' or 'realist'. It is markedly the reverse. Art to the Greek is always a form of _Sophia_, or Wisdom, a _Technê_ with rules that have to be learnt. Its air of utter simplicity is deceptive. The pillar that looks merely straight is really a thing of subtle curves. The funeral bas-relief that seems to represent in the simplest possible manner a woman saying good-bye to her child is arranged, plane behind plane, with the most delicate skill and sometimes with deliberate falsification of perspective. There is always some convention, some idealization, some touch of the light that never was on sea or land. Yet all the time, I think, Greek art remains in a remarkable degree close to nature. The artist's eye is always on the object, and, though he represents it in his own style, that style is always normal and temperate, free from affectation, free from exaggeration or morbidity and, in the earlier periods, free from conventionality. It is art without doubt; but it is natural and normal art, such as grew spontaneously when mankind first tried in freedom to express beauty. For example, the language of Greek poetry is markedly different from that of prose, and there are even clear differences of language between different styles of poetry. And further, the poetry is very seldom about the present. It is about the past, and that an ideal past. What we have to notice there is that this kind of rule, which has been usual in all great ages of poetry, is apparently not an artificial or arbitrary thing but a tendency that grew up naturally with the first great expressions of poetical feeling.