On this account they were not afraid to expose it before the gods on solemn occasions. They had a formal system of attitudes and actions, called _orchestrique,_ which regulated and taught them beautiful postures of the sacred dances. After the battle of Salamis the tragic poet Sophocles, then fifteen years old, and celebrated for his beauty, stripped himself of his clothing in order to dance and chant the pæan before the trophy. One hundred years later, Alexander, on passing through Asia Minor to contend with Darius, cast aside his garments, along with his companions, for the purpose of honoring the tomb of Achilles with races. But the Greeks went still further; they considered the perfection of the human form as attesting divinity. In a town in Sicily a young man of extraordinary beauty was worshipped, and after death, altars were erected in his honor.[8] In Homer, which is the Grecian Bible, you will find everywhere that the gods had a human body which the flesh-lance could pierce, flowing red blood, instincts, passions and pleasures similar in every respect to our own, and to such an extent that heroes become the lovers of goddesses, and gods beget children of mortal mothers. Between Olympus and the earth there is no abyss; they descend from, and we ascend to, it; if they surpass us, it is because they are exempt from death, because their wounds heal quicker, and they are stronger, handsomer and happier than we. In other respects, they eat, drink and quarrel as we do, all enjoying the same senses, and employing the same corporeal functions. Greece has so well worked out its model of the beautiful human animal that it has made its idol of it, and glorifies it on earth, by making a divinity of it in heaven. Out of this conception statuary is born, and we can mark every moment of its growth. On the one hand, an athlete, once crowned, was entitled to a statue; crowned a third time, he was awarded an iconical statue--that is to say, an effigy bearing his portrait. On the other hand, the gods being only human forms, more serene and more perfect than others, it was natural to represent them by statues. For that purpose there is no need of a forced dogma. The marble or bronze effigy is not an allegory, but an exact image; it does not give to the god muscles, bones, and a heavy covering which it has not; it represents the reclothing of flesh which covers it, and the living form which is its substance. It suffices, in order to be a truthful portrait, that it should be the most beautiful, and reproduce the immortal calm by which the god is exalted above mortals.