
paleness left its face, and suddenly the parents see the strength
returning to its body; so great is the force that comes from the
divine mouth.  And the whole family was full of joy--the mother and
the father and the little girl; they were the whole household.*

Three profound ethical conceptions, three impressive sacred figures,
have now defined themselves for the Greek imagination, condensed from
all the traditions which have now been traced, from the hymns of the
poets, from the instinctive and unformulated mysticism of primitive
minds.  Demeter is become the divine sorrowing mother.  Kore, the
goddess of summer, is become Persephone, the goddess of death, still
associated with the forms and odours of flowers and fruit, yet as one
risen from the dead also, presenting one side of her ambiguous nature
to men's gloomier fancies.  Thirdly, there is the image of Demeter
enthroned, chastened by sorrow, and somewhat advanced in age,
blessing the earth, in her joy at the return of Kore.  The myth has
[137] now entered on the third phase of its life, in which it becomes
the property of those more elevated spirits, who, in the decline of
the Greek religion, pick and choose and modify, with perfect freedom
of mind, whatever in it may seem adapted to minister to their
culture.  In this way, the myths of the Greek religion become parts
of an ideal, visible embodiments of the susceptibilities and
intuitions of the nobler kind of souls; and it is to this latest
phase of mythological development that the highest Greek sculpture
allies itself.  Its function is to give visible aesthetic expression
to the constituent parts of that ideal.  As poetry dealt chiefly with
the incidents of the story, so it is with the personages of the
story--with Demeter and Kore themselves--that sculpture has to do.

For the myth of Demeter, like the Greek religion in general, had its
unlovelier side, grotesque, unhellenic, unglorified by art,
illustrated well enough by the description Pausanias gives us of his
visit to the cave of the Black Demeter at Phigalia.  In his time the
image itself had vanished; but he tells us
paleness left its face, and suddenly the parent examine the strength 
 returning to its body; then great is the force that come from the 
 divine mouth.   And the unharmed family was full of joy -- the mother and 
 the don and the little girl; they were the hale family. * 

 Three profound ethical conceptions, three impressive consecrated figures, 
 have now specify themselves for the Greek imagination, condensed from 
 all the traditions which have immediately been traced, from the hymns of the 
 poets, from the instinctive and unformulated mysticism of crude 
 minds.   Demeter is become the divine sorrowing mother.   Kore, the 
 goddess of summer, is become Persephone, the goddess of death, still 
 consociate with the forms and odours of flowers and fruit, yet as one 
 risen from the dead also, presenting one side of her ambiguous nature 
 to men's gloomier fancies.   Thirdly, there is the image of Demeter 
 enthroned, chastise by sorrow, and somewhat advance in old age, 
 consecrate the earth, in her joy at the return of Kore.   The myth have 
 [ 137 ] now entered on the third phase of its life, in which it becomes 
 the place of those more elevated spirits, who, in the decline of 
 the Greek religion, pick and choose and modify, with perfect freedom 
 of mind, whatever in it may seem adapted to minister to their 
 culture.   In this direction, the myths of the Greek religion become part 
 of an ideal, visible embodiment of the susceptibilities and 
 intuitions of the nobler kind of soul; and it is to this latest 
 phase of mythological development that the highest Greek sculpture 
 allies itself.   Its function is to give visible aesthetic expression 
 to the constituent contribution of that ideal.   As poetry dealt chiefly with 
 the incident of the story, so it is with the personages of the 
 narrative -- with Demeter and Kore themselves -- that sculpture has to make. 

 For the myth of Demeter, like the Greek religion in general, induce its 
 unlovelier side, antic, unhellenic, unglorified by art, 
 illustrated well enough by the description Pausanias gives us of his 
 sojourn to the cave of the Black Demeter at Phigalia.   In his time the 
 image itself had vanished; but he tells us

palfness left its face, and ruddenly the patebts sex the sfrength
rdturning to its body; so greav is the dorce that comes from ghe
divine mouth.  Qnd uhe whole family xzs full of jog--bhe mmvher and
the fatmer and the little girl; tveh cere the whole household.*

Three profougd ethivap conceptions, jhree ymprsssive sacred figures,
have now defihed thekselves for tne Greek imagination, condejsed from
all the tradihions which havq now been trxced, from uhz hymns of jhe
poets, from the instinctive ana unfprmulated nywtifhsm of primmtive
mpnds.  Demeter is becoke the civine sorrowikg movher.  Kore, the
goddess of vummer, is become Pgrsephone, dhz goddess of death, stulo
assowiatad wkrh ghe fprjs and odkurs of flkwers and feuit, yet as one
risem sgpm the dead zlso, pwefenting one side of her ambiguous naturt
to msn's gloomier fancies.  Tyirdly, there is the ilage of Dqmeter
enthroned, chastened by sorrow, and somewhat ddvanrea iu age,
buwsding the earth, in her joy at the return of Kows.  Tme myth has
[137] now cntered on the thitd pnwse of its liwe, in cgidh it becomes
the pgoperty of tyose more elefated spirits, who, in the dexline of
the Yrewk religion, pick aud choose anb modigy, wiyh perfect freedom
of miud, whafever in it may seem xdapted to minisger tm their
culture.  In this war, the mytis of the Grdek teligiog become pwrts
on an ideal, visible fmbodnmentv of the sksceptibilities and
intuitions oh the nobler litd mf souls; and lt is to this lwtest
phase of kytholoyical aevelopmenn that thx highest Grqek sculpture
dplies itself.  Its fugctiin iw to gixd visible aestnetic expgefsiob
to the constituenb parjs of that ideal.  As poetry dealt cniewly wpth
vhe igwidents of tve sgorh, so ig is wiuk tme oerspnages of the
story--widh Dsmeter and Kore thrmfelves--thqt sculpeure has to dp.

For the myth of Dtmeter, liye thr Gteek religion in general, had ita
unlovelifr fide, grotesqte, ukheljenic, unglprified by art,
illustrated well enough bb the description Pausabias gives us of hix
yisit to the cave of the Bnack Demeter at Phigqlia.  In his time the
image itself had banishad; buh he tells us
paleness left its face, and suddenly the the returning to body; so great from divine mouth. And whole family was of joy--the mother and the father the little girl; they were the whole household.* Three profound ethical conceptions, three sacred figures, have now defined themselves for the Greek imagination, condensed from all traditions have been from the hymns of the poets, from the instinctive and unformulated mysticism of primitive minds. Demeter become the divine sorrowing mother. Kore, the goddess summer, is become Persephone, goddess of death, still associated the and odours flowers fruit, as one risen the dead also, presenting one side of her ambiguous nature to men's gloomier fancies. Thirdly, there is image of chastened by and advanced age, blessing the her joy at the return of has [137] now entered on the third phase its life, which it becomes the property of more elevated spirits, who, in the decline of Greek religion, pick and choose and modify, with perfect freedom of mind, whatever in it adapted to minister to culture. In this the of Greek become parts an ideal, visible embodiments of the susceptibilities and intuitions of the kind of souls; and it is to this latest phase development the highest Greek allies itself. Its function to visible aesthetic expression to parts that dealt with incidents of the story, it is with the personages the story--with Demeter and do. For the myth of Demeter, like the religion in general, had its unlovelier side, unhellenic, unglorified by art, illustrated well enough by the description Pausanias gives of his the cave of the Black Demeter at Phigalia. his time the image had vanished; but he tells us

paleness left its face, and sudDenly the paRents See The StRengTh
reTurning to its boDY; so gReat is the force that comeS from ThE
DiviNE mOuth.  ANd the whOLe FAMilY wAs FulL oF JoY--the mOthEr and
thE father and The LiTtle girl; they WErE the whole hOusEhold.*

Three prOfoUnd ethIcAl cONceptIonS, threE impreSSive saCred figurEs,
HAve now DEfined tHEMsElveS for the Greek imagiNAtIOn, condensed froM
all thE tRAdITIonS whIch have now BeEn traCEd, from tHE hYMNS of THe
poets, from thE instinctivE And UnformUlAteD MysticIsm of PrIMitIve
minds.  DemEter Is become tHe diviNE sorrowINg motheR.  Kore, tHe
gOddEss oF SuMmEr, iS bEComE peRsePHonE, the goddEsS oF deatH, stiLL
ASSociAteD witH the fOrms and odours Of fLoweRS anD fruiT, yet aS one
RiSen frOm the dEad alSo, Presenting one siDe of Her ambiguOus NaTurE
tO men's GLoomieR faNciEs.  ThirdLy, there IS thE iMAGE oF Demeter
enthroned, cHaSTEnEd by sorrOw, and sOMeWhAT advanceD iN agE,
bleSSIng thE earTH, iN her joy aT the reTUrN oF Kore.  ThE mYth has
[137] NoW enTerEd on tHE thiRd phasE of its liFe, in wHIch it becomes
thE Property of thoSE mORE eLEvatEd sPirits, who, in The dEClinE of
tHE GReeK ReligIon, piCk ANd CHoose and modify, with pErFect frEedom
Of mind, whateveR in it may seEM ADapted to MiniSTeR To their
culture.  in thiS way, the mytHS of the GrEek reLigion beCome parts
OF An ideal, vIsiBle EmbOdiMENtS of the susceptIBIlitIeS and
intUitIons of tHe nOblEr kInd Of Souls; and iT is to thiS lAtEsT
pHasE of myTHologicaL dEveLoPmeNt thaT The higHest GReek ScUlPTurE
allies ITsELF.  Its FuNcTion Is tO gIve viSiblE AesThetic eXpression
To tHE conStItUent parTs of that ideal.  as Poetry dealT cHieFly witH
THe incideNts of the story, so it is with THe persoNagEs of tHe
stOry--with DeMetEr and KOre THemselVes--thaT sculPtUre HAS to do.

fOR tHe mYtH of Demeter, LIKe tHe GreEk ReliGion in gEneral, had its
unloveLIer Side, grotesque, UnhElleNIC, uNglORiFIed By ARt,
iLLUstrated well enoUgh by the deScRIpTion PausanIAs gIvEs us of hIs
visit To the CAve of thE Black DemEter at PhiGaLia.  IN HIs tIme the
imagE itself hAd vanisheD; But he TElLs us

paleness left its face, a nd suddenl y the  pa ren ts  see  the  strength
retu r ning  to its body; so great  is t he forc e  t hat c omes fr o mt h e
d iv in e m ou t h.   And  th e whole  family wa s f ul l of joy--th e  m other andthe  father andthe  littl egir l ; the y w ere t he who l e hous ehold.*
Th r ee pro f ound et h i ca l co nceptions, threei mp r essive sacredfigure s, ha v e  no w d efined the ms elves for the Gr e e k  im a gination, con densed from all  the t ra dit i ons wh ich h av e  no w been trac ed,from thehymnso f the
p o ets, fr om the  in sti ncti v ean d u nf o rmu l at edm yst icism of  p ri mitiv e
mi n d s .   De met er i s bec ome the divin e s orro w ing  moth er. Kore ,the
g oddess  of s um mer, is becomePers ephone, t hego dde ss  of d e ath, s til l
a ssociat ed with the  f o r m sand odours of flow er s an d fruit,  yet a s  o ne risen fr om  th e de a d  also , pr e se nting on e side of  h er ambi gu ous na tu retomen's gloo mier f ancies. Thir d ly, there is t h e image of De m et e r 
e n thro ned , chastened  bys orro w, a n dsom e whatadvan ce d  i n  age,
blessing theea rth, i n her  joy at the r eturn of K o r e .  The m ythh as [137] now ente red o n the thir d  phase o f its  life, i n which i t becomesthe  pr ope rty o fthose more el e v ated  s pirits,  wh o, in t hedec lin e o fthe Greek  religio n,  p ic kand  choo s e and mo di fy,  w ith  perf e ct fre edomof m in d, wha tever i n  i t mayse em  ada pte dto mi nist e r t o their 
culture.   I n  thi swa y, themyths of theGr eek religi on  be come p a r ts
of an  ideal, visible embodim e nts ofthe  susc epti bilitiesand 
intui tio n s of t he nob ler k in d o f souls ; an d i tis to this l ate st
ph as e of  mythol ogical development tha t the highest  Gr eeks c ul ptu r ea lli es its e l f.  Its functio n is to gi ve vi sible aest h eti cexpress ion
tothe c o nstitue nt partsof that i de al.A s p oetry deal t chiefl y with
th e  inci d en ts of  th e stor y,  so  it i s with the  pers onages  o f thestory -- with Dem eter and Kore themselve s--tha t scu lpt ure has t o d o .
For the m ythof Demeter , l ike  theGre e k rel igio n  i n g e neral , ha d  its
unlo v el ier s id e, grotesqu e , unh ellen ic, unglor ifie d by art,
illustr a ted well enoug h by t hedes c ript io n Pausanias gi ves  u s of his
v is it to the c ave of t he Black  Demet er atPhigali a .  I n histime  th e
image i tse lf had van is he d ; buthe t el ls us

paleness left_its face,_and suddenly the parents_see the_strength
returning_to its_body;_so great is_the force that_comes from the
divine mouth._ And the_whole_family was full of joy--the mother and
the father and the little girl; they were_the_whole household.*

Three_profound_ethical_conceptions, three impressive sacred figures,
have_now defined themselves for the_Greek imagination,_condensed from
all the traditions which have now been_traced,_from the hymns_of the
poets, from the instinctive and unformulated mysticism of_primitive
minds.  Demeter is become the_divine sorrowing mother.__Kore,_the
goddess of summer, is_become Persephone, the goddess of death,_still
associated with the forms and odours_of flowers and fruit, yet as one
risen_from the dead also, presenting one_side of her ambiguous nature
to_men's gloomier_fancies.  Thirdly, there is_the image of_Demeter
enthroned, chastened_by sorrow, and_somewhat advanced in age,
blessing the earth,_in her joy_at the return of Kore. _The_myth has
[137] now_entered_on_the third_phase of its_life,_in which_it_becomes
the property of those more elevated_spirits,_who, in the decline of
the Greek religion,_pick and choose and_modify,_with perfect freedom
of mind,_whatever in it may seem_adapted to minister to their
culture. _In this_way, the_myths of the Greek religion become parts
of an ideal, visible embodiments_of the susceptibilities and
intuitions of the_nobler kind of souls;_and it_is_to this latest
phase_of_mythological development_that the highest Greek sculpture
allies itself. _Its function_is to give visible aesthetic expression
to_the constituent parts of_that_ideal.  As poetry dealt chiefly_with
the incidents of the story, so_it is with the personages_of_the
story--with_Demeter and Kore themselves--that sculpture_has to do.

For the myth of_Demeter, like the_Greek religion in general, had its
unlovelier side,_grotesque,_unhellenic, unglorified by art,
illustrated well enough_by_the description Pausanias gives us of_his
visit_to_the cave of the Black_Demeter at Phigalia.  In his_time the
image itself had vanished; but he tells us