But the painter can depict the human body not merely as something sensuously beautiful, but as expressive, through gesture and pose and countenance, of character and thought. The complex psychic life of man is thus open to him for delineation. In the portrait, through the attentive study of the many varying expressions of the inner life, leading to the selection of some characteristic pose or action, the artist concentrates into a single image what seems to him to be the distinctive nature of the man. And he can express this nature over again, and so more effectively reveal it, in the mere colors and lines which he uses. Thus Franz Hals has embodied the abundance and good cheer of his burghers in the boldness and brightness of the lines and colors with which he paints them; and Hogarth, in the "Shrimp Girl," through the mere singularity of line and color, has created the eerie impression which we attach to the girl herself. The best portraits subordinate everything else, such as costume and background, to the painting of the inner life. Thus Velasquez brings before us the souls of his little Infantas despite the queer head-dresses and frocks which must have threatened to smother them. The background should serve the same end; if elaborate, it should represent a fitting environment; and if plain it should throw the figure into relief. Alongside of the portrait as a painting of the soul should be placed pictures of ideal characters; ideal, not in the sense of good, but in the sense of more highly complex and unified than actually existing persons. Such pictures symbolize for us the quintessence and highest level of definite types of life. Manet's "Olympia" and Goya's "Maja" belong here equally with Leonardo's "Christ" or "Mona Lisa," with Raphael's Madonnas and Michelangelo's gods and angels. In them is attained the most intense concentration of psychic life possible.