(_a_) The vitality of these works consists in this, that they are the free product of the genius of the artist. The artist at this stage is neither satisfied with giving, by means of general and haphazard contours, suggestions and expressions, a general conception of that which he desires to reproduce, nor does he, on the other hand, in respect to what is individual and singular, accept the forms as he has received them by chance from the external world. For this reason also he does not present them again with loyalty to this accidental aspect, but he is concerned to place within his own free creation what is empirically particularized in isolated aspects that thus appear in a further individual accord with the universal types of the human form, an accord which is made to appear as throughout transpierced with the spiritual configuration of that which he is called to make apparent, when he suffers us to see his own vitality, conception and animation in the work regarded on the side of the artist's activity. The universal aspect of the content of his work is not due to his creation. It is presented him by means of mythology and saga precisely in the way that he finds the general effect and details of the human form; but the free and living individualization, which permeates all portions on his work, is the result of his own personal point of view, his efforts and services. (_b_) The effect and charm of this vitality and freedom is only produced by means of the sufficiency, the honest candour of the elaboration of all the particular parts to which the most definite knowledge and review of the construction of these parts belongs, no less in their position of repose than also in that of their motion. The way in which the different members are disposed and moulded with regard to rondure and smoothness, in every condition of rest and movement, must be expressed in the most satisfactory way. This fundamental elaboration and placing in relief of all the separate parts we find in all products of antique art, and the animation thus produced is only the effect of infinite pains and truth. When the eye contemplates works of this kind it is, in the first instance, unable clearly to recognize a mass of distinction; and it is only by virtue of a particular manner of lighting that we can appreciate the same by means of a stronger contrast between light and shadow. But though these fine nuances are imperceptible at first glance, the general impression they produce is not for that reason lost. In part they appear as the spectator varies his point of view, and in part we derive from them what is essentially the impression of the organic continuity of all the members and their forms. This spirit of vitality, this soul of material configuration, is due wholly to the fact that, though every part is entirely complete in its separable independence, yet it is to a like extent throughout, by virtue of the wealth of its modes of transition, associated not