entire manifold of the form and its environment is concentrated to a focus, it holds itself aloof and contrasted with this development. A breadth of vision of this specific kind is, however, foreign to the plastic art. For this reason the more specialized mode of expression in the human vision, which did not at the same time immediately discover its further reciprocal response of effect in the entire compass of its configuration, could only be an accidental particularity, which the sculptured figure must dispense with. For reasons such as these, sculpture does not merely deprive itself of nothing when it leaves its figures bare of the eye's full glance; but we may affirm that it is only true to its fundamental principle when it totally disregards this mode of the soul's expression. Consequently it is merely one more example of the fine insight of antiquity, that it recognized firmly this limitation and restriction of sculpture, and remained loyal to the abstract view it implied. It is an evidence of the lofty intelligence of the ancients, based on the fulness of their reasoning faculties, and the comprehensive grasp of their outlook. No doubt we do meet with cases in antique sculpture, in which the eyes gaze upon some definite point, as for example in the case of the faun we have alluded to several times who glances at the young Bacchus. This smile of recognition is expressed in a moving way; but even here the eye is itself visionless, and the real statues of the gods in their simple situations are not presented to us in relations of this specific character so far as the direction of eye and glance is concerned.