(_β_) Finally, among the Greeks, we meet with both aspects, both nude and draped figures. And in actual life also they were equally clothed, albeit from other considerations they held it a point of honour to have first contested in the games nude. To an exceptional degree the Lacedaemonians were the first to wrestle naked. But this was with them not due so much to a sense of beauty as to their general indifference to what savoured of refinement and spiritual purport in the sense of modesty. In the national character of the Greek people, among whom the feeling for personal individuality in all its immediacy, and as it is the spiritual animation of their existence, is so strongly developed, taking this as the instinct for free and beautiful forms, it was also inevitable that what was human in its immediacy, the bodily presence, that is, as it belongs to man and is suffused with his spirit, should be elaborated in independent form, and that the human form should be revered above all others for the reason that it is the freest and the most beautiful. In this sense, no doubt, they threw aside that instinct of shame, which will not suffer us to look at what is purely corporeal in' man, not out of indifference to what was spiritual, but with an indifference to what is purely sensuous in desire, for the sake of beauty; and this intention is manifest in full play throughout a great number of their nude figures. This entire absence of drapery, however, it was impossible wholly to justify on principle. For, as I have already indicated when distinguishing the head from other parts of the body, it is undeniable that the spiritual expression of the form is restricted to the face and the pose and movement of the whole, to the general mien, which is preeminently eloquent by virtue of the arms, hands, and position of the legs. For these organs, whose activity is in an outward direction, have still, and precisely by the nature of their pose and movement, for the most part the expression of a spiritual deliverance. The other members of the body, on the contrary, are and remain solely productive of a sensuous beauty; and the distinguishing features which are visible on them can only be bodily vigour, development of muscle, or degrees of delicacy and softness, such as characterize respectively the two sexes, age, youth, and childhood. As a means, therefore, of expressing what is spiritual in the form, the nudity of these parts is also from the standpoint of beauty indifferent; and it is only due to our moral sense, when, that is to say, the main thing looked for is the paramount presentation of the spiritual in man, that such parts should be veiled. What in general ideal art does in the case of every separate part of the body is to remove the necessary limitations of animal life in its detailed particularities, such as little veins, wrinkles, hairs of the skin, and so forth, and simply to enforce and emphasize the