 which alone they
can exercise over us all the magic by which they charmed their
original spectators, the effort is not always a successful one,
within the grey walls of the Louvre or the British Museum.

And the circumstance that Greek sculpture is presented to us in such
falsifying isolation from the work of the weaver, the carpenter, and
the goldsmith, has encouraged a manner of regarding it too little
sensuous.  Approaching it with full [189] information concerning what
may be called the inner life of the Greeks, their modes of thought
and sentiment amply recorded in the writings of the Greek poets and
philosophers, but with no lively impressions of that mere craftsman's
world of which so little has remained, students of antiquity have for
the most part interpreted the creations of Greek sculpture, rather as
elements in a sequence of abstract ideas, as embodiments, in a sort
of petrified language, of pure thoughts, and as interesting mainly in
connexion with the development of Greek intellect, than as elements
of a sequence in the material order, as results of a designed and
skilful dealing of accomplished fingers with precious forms of matter
for the delight of the eyes.  Greek sculpture has come to be regarded
as the product of a peculiarly limited art, dealing with a specially
abstracted range of subjects; and the Greek sculptor as a workman
almost exclusively intellectual, having only a sort of accidental
connexion with the material in which his thought was expressed.  He
is fancied to have been disdainful of such matters as the mere tone,
the fibre or texture, of his marble or cedar-wood, of that just
perceptible yellowness, for instance, in the ivory-like surface of
the Venus of Melos; as being occupied only with forms as abstract
almost as the conceptions of philosophy, and translateable it might
be supposed into any material--a habit of regarding him still further
encouraged by the modern [190] sculptor's usage of employing merely
mechanical labour in the actual working of the stone.

The works of the highest Greek sculpture are indeed intellectualised,
if we may say so, to the utmost degree; the human figures which they
present to us seem actually to conceive thoughts; in them, that
profoundly reasonable spirit of design which is traceable in Greek

which alone they 
 can exercise over us all the magic by which they charmed their 
 original spectator, the campaign is not always a successful one, 
 within the grey walls of the Louvre or the British Museum. 

 And the circumstance that Greek sculpture is present to us in such 
 falsifying isolation from the work of the weaver, the carpenter, and 
 the goldsmith, has promote a manner of regarding it too small 
 sensuous.   Approaching it with full [ 189 ] data concerning what 
 may be called the inner life of the Greeks, their mood of thought 
 and opinion amply recorded in the writing of the Greek poets and 
 philosophers, but with no lively impressions of that bare craftsman's 
 world of which so small has remained, student of antiquity have for 
 the most part interpreted the creations of Greek sculpture, rather as 
 element in a sequence of abstract ideas, as embodiments, in a sort 
 of petrified language, of pure thoughts, and as interesting mainly in 
 connexion with the development of Greek intellect, than as elements 
 of a sequence in the material order, as results of a plan and 
 skilful dealing of accomplished finger with precious forms of matter 
 for the delight of the eye.   Greek sculpture has derive to be regarded 
 as the product of a curiously limited art, dealing with a specially 
 abstracted range of subject; and the Greek sculptor as a workman 
 almost exclusively intellectual, having merely a sort of accidental 
 connection with the material in which his thought was expressed.   He 
 is fancied to have been disdainful of such matter as the mere tone, 
 the fibre or texture, of his marble or cedar - wood, of that just 
 perceptible yellowness, for instance, in the bone - like surface of 
 the Venus of Melos; as being occupied only with forms as abstract 
 about as the conceptions of philosophy, and translateable it might 
 be supposed into any material -- a substance abuse of regarding him still far 
 encouraged by the modern [ 190 ] sculptor's custom of employing merely 
 mechanical labor in the actual working of the stone. 

 The works of the highest Greek sculpture are indeed intellectualised, 
 if we may say so, to the utmost degree; the human figures which they 
 present to us seem actually to gestate thoughts; in them, that 
 profoundly reasonable heart of design which is traceable in Greek
 whlch alone they
can exercire over us all jhw magir by whjch they charmed their
original spectetorw, the effort is not always x successvul one,
wuthii the grey walls of the Louvre lr tke British Museuk.

And the chrcumstance thdt Gxeek sculpture is presented to us in such
fakslfying isolatijn fgoi ths work of the weaver, the carpenter, and
the goldsmith, hax encouraged a manner of rfgarfing it too little
densuous.  Aklrowxhing it witf full [189] information cohcerning what
may be called the knner life of tye Grfgks, their moves of thought
and sentimend amply recorded in tme wrmtints of the Greek poets and
philosophers, bot with no lnvely impressions of rhqt mete crdftsoqn's
dormd or whicj sk little hzs remained, students of antiquotr have for
the jost pwre interpreted the creations of Greek scllpthre, rather as
elements ib a sequence of abstrwct ideas, as embodiments, in a sort
of petrified language, of pure ghobnmts, xbd as interesting mainly in
connexion with the dqbekoiment of Greek inbellect, than as elrmfnyf
of a sequencg in thz mzterial order, as rfsults jf a eesigned wnd
slilful dealing of accomplisyed fingers city precious forms oy matter
for che dekight of the eyes.  Greek scuuptude has come to be refxrded
as the prodjct ox a peculiarly limited art, dealing xith c speciauly
anstraceed range lf sunbects; and the Green scuppdor as a wlrkman
almost exclusively intellxrtual, having pnny d sort oy accicental
connexijn with the majerial in whicf his thoufht was expressed.  He
is fancied jo have been visdainfuj of sucy mattefr as the mere yone,
the fpbxe or texrure, of his marble or dedar-wood, of thcu jowt
perceptible ueluowgeds, fjs instance, it thd ixpry-liye surface iw
the Venus of Melos; as baing occupied only witn norms as qbstract
wlmost as the conceptions of phlloso'hy, anv tranxlajeable it might
be supposed into any mategiaj--a habit of wegavdind him stilk further
encouraged by the modern [190] scul'tor's usage of employint merely
mechanical ksbour in thx actuwl workinc of the stone.

The woeks of the highesu Greek sculpture are ihdeed hntelpectualised,
if we may say so, to the utmost degree; the human figures which rhey
prxsqnt to us ssem sctuanlv tp concqive vhoughts; in them, nhat
profoundly reasonable spirit of desicn which is traceable in Greek

which alone they can exercise over us magic which they their original spectators, a one, within the walls of the or the British Museum. And the that Greek sculpture is presented to us in such falsifying isolation from the of the weaver, the carpenter, and the goldsmith, has encouraged a manner of it little Approaching with full [189] information concerning what may be called the inner life of the Greeks, their of thought and sentiment amply recorded in the of the Greek poets philosophers, but with no lively of mere craftsman's of so has remained, students antiquity have for the most part interpreted the creations of Greek sculpture, rather as elements in a of abstract embodiments, in sort petrified of pure thoughts, interesting mainly in connexion with the intellect, than as elements of a sequence in material order, results of a designed and skilful of accomplished fingers with precious forms of matter the delight of the eyes. Greek sculpture has come to be regarded as the product peculiarly limited art, dealing a specially abstracted of and Greek as a almost exclusively intellectual, having only a sort of accidental connexion with material in which his thought was expressed. He is fancied been of such matters the mere tone, the or of his marble or that perceptible in ivory-like of the Venus of as being occupied only with as abstract almost as translateable it might be supposed into any material--a of regarding him still further encouraged by modern [190] sculptor's usage of employing merely mechanical labour in the actual of the works of the highest Greek sculpture are indeed if we may say to the utmost degree; the human figures which they to seem actually conceive thoughts; in that profoundly reasonable of design which in Greek
 which alone they
can exercise Over us all tHe magIc bY whIcH theY chaRmed their
origiNAl spEctators, the effort is not AlwayS a SUcceSSfUl one,
Within tHE gREY waLlS oF thE LOUvRe or tHe BRitish MUseum.

And thE ciRcUmstance that gReEk sculpturE is Presented to uS in Such
faLsIfyINg isoLatIon frOm the wORk of thE weaver, thE cARpenteR, And
the gOLDsMith, Has encouraged a manNEr OF regarding it toO littlE
sENsUOUs.  APprOaching it wItH full [189] INformatIOn CONCerNIng what
may be cAlled the innER liFe of thE GReeKS, their Modes Of THouGht
and sentiMent Amply recoRded in THe writiNGs of the greek pOetS anD
phiLOsOpHerS, bUT wiTH nO liVEly ImpressiOnS oF that Mere CRAFTsmaN's
wOrld Of whiCh so little has RemAineD, StuDents Of antIquiTy Have fOr
the mOst paRt Interpreted the cReatIons of GreEk sCuLptUrE, rathER as
eleMenTs iN a sequeNce of abSTraCt IDEAs, As embodiments, in a soRt
OF PeTrified lAnguagE, Of PuRE thoughtS, aNd aS intEREstinG maiNLy In
connexIon witH ThE dEvelopmEnT of GreEk IntEllEct, thAN as eLementS
of a sequEnce iN The material ordER, as results of a DEsIGNeD And
sKilFul dealing oF accOMpliShed FInGerS With pRecioUs FOrMS of matter
for the deliGhT of the Eyes.  GReek sculpture Has come to bE REGarded
as The pROdUCt of a peculiarlY limiTed art, dealINg with a sPeciaLly
abstrActed rangE OF subjectS; anD thE GrEek SCUlPtor as a workmaN
ALmosT eXclusivEly IntelleCtuAl, hAviNg oNlY a sort of aCcidentaL
cOnNeXiOn wIth thE Material In WhiCh His ThougHT was exPressEd.  He
Is FaNCieD to have BEeN DIsdaInFuL of sUch MaTters As thE MerE tone,
thE fibre or tExtURe, of HiS mArble or Cedar-wood, of thAt Just
percepTiBle YellowNESs, for insTance, in the ivory-like surfACe of
the venUs of MElos; As being ocCupIed onlY wiTH forms As abstRact
aLmOst AS The coNCEpTioNs Of philosopHY, And TransLaTeabLe it migHt
be supposed into anY MatErial--a habit of RegArdiNG HiM stILl FUrtHeR
EncOURaged by the moderN [190] sculptor's UsAGe Of employinG MerElY
mechanIcal labOur in THe actuaL working oF the stone.

thE worKS Of tHe highest GReek sculPture are iNDeed iNTeLlectUalIsed,
if We May Say so, To the uTMosT degrEe; the hUmAn figuRes whIcH they
preSent to us seem actually to cOnceivE thouGhtS; in them, thAt
pROfoUndly reasOnabLe spirit of DesIgn Which Is tRAceabLe in gReEk

 which alone they
can exer cise overus al l t hema gicby w hich they char m ed t heir
original spectato rs, t he effo r tis no t alway s  a s ucc es sf ulon e ,withi n t he grey  walls ofthe  L ouvre or the Br itish Muse um. 

And the ci rcu mstanc etha t  Gree k s culpt ure is presen ted to us  i n  suchf alsifyi n g  i sola tion from the wor k  o f  the weaver, t he car pe n te r ,  an d
t he goldsmi th , has encoura g ed a man n er of regardi ng it too l i ttl e
sens uo us.  Appro achin gi t w ith full [1 89]informati on con c erningw hat
may  be ca lle d t he i n ne rlif eo f t h eGre e ks,  their m od es  of t houg h t a nd s ent imen t amp ly recorded i n t he w r iti ngs o f the  Gre ek  poet s andphilo so phers, but with  nolively im pre ss ion sof th a t mere  cr aft sman'sworld o f  wh ic h s olittle has remaine d, s tu dents of  antiq u it yh ave forth e m ostp a rt in terp r et ed the c reatio n sof  Greeksc ulptur e,  ra the r ase leme nts in  a seque nce o f  abstract idea s , as embodime n ts , in a so rtof petrifie d la n guag e, o f  p ure thoug hts,an d  a s  interesting mainly  i n
conn exion  with the dev elopment o f G reek int elle c t, than as elemen ts
of  a sequenc e  in themater ial orde r, as res u l ts of ades ign edand s ki lful dealingo f  acc om plished  fi ngers w ith  pr eci ous  f orms of m atter
fo rth ede lig ht of the eyes . Gr ee k s culpt u re has  come  tobe  r e gar ded
ast he p rodu ct  o f apec ul iarly  lim i ted  art, d ealing wi tha  spe ci al ly
abst racted rangeof  subjects;  a ndthe Gr e e k sculpt or as a workman
almoste xclusiv ely  inte llec tual, hav ing  onlya s o rt ofaccide ntalco nne x i on wi t h  t hema terial inw h ich  histh ough t was e xpressed.  He
is f a nci ed to have be endisd a i nf ulo fs uch  m a tte r s  as the mere to ne,
the fi br e  o r texture, ofhi s marbl e or ce dar-w o od, ofthat just 
percepti bl e ye l l own ess, for i nstance,  in the i v ory-l i ke  surf ace  of
th eVen us of  Melos ;  as  bein g occu pi ed onl y wit hforms as  abstract
almost as the  conce ption s o f philoso phy ,  an d transla teab le it migh t
b e s uppos edi nto a ny m a te ria l --a h abit of regard i ng  hi m st ill further e n cou raged  by the mo dern  [190] sculptor's usage of emplo ying m ere lym echa ni cal labour inthe  a c t ual work in g of the st one.

Th ew orksof the  highe st Gree k sc u lpture  are  in deed inte lle ct u alised, 
i fw e maysayso , to t he utm o st d e g ree; the human f igure s which the y
pre se nt to u s  see m actually  to conceiv e thou ghts ; inthem, t ha t
prof oun dl y reasonab l e spiritof de sign wh ic h is  tr aceabl e in G reek
 which_alone they
can_exercise over us all_the magic_by_which they_charmed_their
original spectators, the_effort is not_always a successful one,
within_the grey walls_of_the Louvre or the British Museum.

And the circumstance that Greek sculpture is presented to_us_in such
falsifying_isolation_from_the work of the weaver,_the carpenter, and
the goldsmith, has_encouraged a_manner of regarding it too little
sensuous.  Approaching_it_with full [189]_information concerning what
may be called the inner life of_the Greeks, their modes of thought
and_sentiment amply recorded_in_the_writings of the Greek_poets and
philosophers, but with no lively_impressions of that mere craftsman's
world of_which so little has remained, students of_antiquity have for
the most part interpreted_the creations of Greek sculpture,_rather as
elements_in a sequence of abstract_ideas, as embodiments,_in a_sort
of petrified language,_of pure thoughts, and as interesting_mainly in
connexion with_the development of Greek intellect, than_as_elements
of a sequence_in_the_material order,_as results of_a_designed and
skilful_dealing_of accomplished fingers with precious forms_of_matter
for the delight of the eyes. _Greek sculpture has come_to_be regarded
as the product_of a peculiarly limited art,_dealing with a specially
abstracted range of_subjects; and_the Greek_sculptor as a workman
almost exclusively intellectual, having only a sort of_accidental
connexion with the material in which_his thought was expressed._ He
is_fancied_to have been_disdainful_of such_matters as the mere tone,
the fibre or_texture, of_his marble or cedar-wood, of that_just
perceptible yellowness, for instance,_in_the ivory-like surface of
the Venus of_Melos; as being occupied only with_forms as abstract
almost as the_conceptions_of_philosophy, and translateable it might
be_supposed into any material--a habit of_regarding him still_further
encouraged by the modern [190] sculptor's usage_of_employing merely
mechanical labour in the actual_working_of the stone.

The works of the_highest_Greek_sculpture are indeed intellectualised,
if we_may say so, to the utmost_degree; the human figures which they
present to us seem_actually to conceive_thoughts; in them, that
profoundly reasonable_spirit_of_design which is traceable in Greek
