to her service, in order to bring the truths of religion more near to the emotion, or to clothe the same in imaginative form. In both cases unquestionably art is rendering a service to a province not, in strictness, its own. At the same time where art is found in most exalted perfection, in that case no doubt it unfolds in plastic guise the mode of exposition most adequate and essentially necessary to the content of the truth accepted. Among the Greeks, for example, Art was the highest medium under which the community conceived its gods, and became conscious of truth. For this reason we may justly say that the poets and artists of Greece created the gods of their people. In other words, they defined for the imagination of their people the active life and energy of the Divine Presence, giving Them the definite content of a religion. And this statement must not merely be taken to imply that all Greek artists did was to clothe in imagery or embellish with the beauty of poesy vague conceptions and hearsays which, as general religious maxims or isolated determinations of conscious life, were already present before the era of such poetic creations. The truth of this artistic production is rather to be found in this, that art and poetry were the exclusive forms in which these creative artists could bring to life and expression the ideas which fermented in themselves. In other phases of that consciousness, where we find the content less completely represented by the plastic imagery of art, the scope of Art as the handmaid of religion is of less importance. We have thus indicated what was, at any rate, once the true position of Art in its relation to the highest interests of man's spiritual life.