power of wisdom, technical capacity in the arts and courageousness, and comprises within her intelligent and warlike maidenhood the concrete spirit of the folk, the free and substantive spirit which uniquely belongs to the Athenian state, and places the same before us in positive shape as sovereign and godlike power to be revered. Artemis on the contrary, wholly distinct from the Ephesian Diana, possesses the more inflexible independence of maiden modesty for her most essential characteristic. She loves the chase, and is generally not so much the quietly pensive, as the severe and eager-striving maiden. Aphrodite, together with the charming Cupid, who in his descent from the ancient Titan Eros became a boy, is the interpreter of all that the attractions and sexual passion effect in our humanity. This, then, is the kind of content of the spiritually informed individual gods. In so far as we are concerned with their external representation we can only repeat that sculpture is the most important art in this respect, and it is carried to the point of this detail of their particularity. If, however, it is permitted to express that individuality in its more specific determination, it at once passes beyond its primary severe loftiness, although even in that case it unites the variety and wealth of such individuality under _one_ mode of definition, namely that which we distinguish as character, and establishes this character in its more simple clarity for the envisagement of the senses, in other words for the completest and most final determination of the external presentment of these divinities. For the imagination always remains relatively to the external and real existence less distinct, when it elaborates, as it also does, as poetry the same content in a number of tales, occurrences, and events which concern the gods. For this reason sculpture is on the one hand more ideal, while on the other it individualizes the character of the gods in perfectly clear human outlines, and perfects the anthropomorphism of the classic Ideal. As this presentation of the Ideal in its mode of externality, entirely adequate as it unquestionably is to the essentially ideal content it declares, these figures of Greek sculpture are the Ideals in their absolutely explicit realization; they are the self-subsistent, eternal forms, the centre of the plastic beauty of classical art, whose type persists as the foundation, even there too, where these figures step forth on the planes of definite activity, and appear as affected by the revolutions of particular events. 3. THE PARTICULAR INDIVIDUALITY OF THE GODS