namely, that it borrow one aspect from the material which has passed into the condition of positive externality, and make the best of this one for an example, which sets the gods before us as concrete, living individuals, merely retaining a distant echo of any profounder significance. This positive aspect is precisely that which endows the Greek gods with the charm of living humanity when the imagination elaborates it anew. It is by this latter process that what is otherwise merely of substantive import, or that of power, is thereby carried into the individual present, which, speaking in general terms, is concentrated to a point out of that which is truly explicit or independently actual, and which is external and accidental, and thereby the indefinite, which otherwise is always present in the conception of the gods, is limited in its range and filled out in its content. We are unable to attach any additional value to specific tales and particular traits of characterization, for this material, which, in its earlier stage is, when we look at its primary source, the symbolically significant, has now only remaining the task to perfect the spiritual individuality of the gods in their positive sensuous definition in contrast to the human and to attach to it by virtue of a material which, in respect to its content and envisagement, is undivine, the aspect of caprice and chance, characteristics inseparable from concrete individuality. Sculpture, in so far as it presents to our senses the pure ideals of the gods, and is concerned to set before us character and expression solely under the mode of living bodies, can least of all with clearness make visible the final result of individualization. It does nevertheless give real effect to it within the limits of its own province, as we may see, for example, in the different treatment of headdress, the mode in which the folds or locks of hair are arranged in each particular case; and this is done not merely with a view to symbolical interpretation but in order to individualize. In this way Hercules has short locks, Zeus an abundant growth which rises above the forehead, Diana quite a different folding of the hair to that of Venus. Pallas, too, is distinguished by the Gorgo on the helmet, and the like result is obtained by means of weapons, girdle, fillets, bracelets, and all the variety of other external adornment.