art, continuously and increasingly, upwards from its simplest
products, the oil-vessel or the urn, reaches its perfection.  Yet,
though the most abstract and intellectualised of sensuous objects,
they are still sensuous and material, addressing themselves, in the
first instance, not to the purely reflective faculty, but to the eye;
and a complete criticism must have approached them from both sides--
from the side of the intelligence indeed, towards which they rank as
great thoughts come down into the stone; but from the sensuous side
also, towards which they rank as the most perfect results of that
pure skill of hand, of which the Venus of Melos, we may say, is the
highest example, and the little polished pitcher or lamp, also
perfect in its way, perhaps the lowest.

To pass by the purely visible side of these things, then, is not only
to miss a refining pleasure, but to mistake altogether the medium in
which the most intellectual of the creations of Greek art, the
Aeginetan or the Elgin marbles, for instance, were actually produced;
even these having, in their origin, depended for much of [191] their
charm on the mere material in which they were executed; and the whole
black and grey world of extant antique sculpture needing to be
translated back into ivory and gold, if we would feel the excitement
which the Greek seems to have felt in the presence of these objects.
To have this really Greek sense of Greek sculpture, it is necessary
to connect it, indeed, with the inner life of the Greek world, its
thought and sentiment, on the one hand; but on the other hand to
connect it, also, with the minor works of price, intaglios, coins,
vases; with that whole system of material refinement and beauty in
the outer Greek life, which these minor works represent to us; and it
is with these, as far as possible, that we must seek to relieve the
air of our galleries and museums of their too intellectual greyness.
Greek sculpture could not have been precisely a cold thing; and,
whatever a colour-blind school may say, pure thoughts have their
coldness, a coldness which has sometimes repelled from Greek
sculpture, with its unsuspected fund of passion and energy in
material form, those who cared much, and with much insight,
art, continuously and increasingly, upwards from its simplest 
 product, the petroleum - vessel or the urn, reaches its perfection.   Yet, 
 though the about abstract and intellectualised of sensuous objects, 
 they are still sensuous and material, address themselves, in the 
 first instance, not to the strictly brooding faculty, but to the eye; 
 and a arrant criticism must have approached them from both sides-- 
 from the side of the intelligence indeed, towards which they rate as 
 great thoughts hail down into the stone; but from the sensuous side 
 besides, towards which they rank as the most perfect solution of that 
 pure skill of hand, of which the Venus of Melos, we may order, is the 
 highest model, and the little polished pitcher or lamp, also 
 perfect in its way, possibly the lowest. 

 To pass by the purely visible side of these things, then, is not only 
 to neglect a refining joy, but to err altogether the medium in 
 which the most intellectual of the creations of Greek art, the 
 Aeginetan or the Elgin marbles, for case, were actually produce; 
 even these having, in their origin, depended for much of [ 191 ] their 
 spell on the bare fabric in which they were executed; and the whole 
 black and grey world of extant antique sculpture needing to be 
 translated back into ivory and amber, if we would feel the excitement 
 which the Greek seems to have felt in the presence of these objects. 
 To have this really Greek sense of Greek sculpture, it is necessary 
 to connect it, indeed, with the inner life of the Greek populace, its 
 thought and opinion, on the one bridge player; but on the other hand to 
 connect it, also, with the minor work of price, intaglios, coins, 
 vase; with that whole system of material refinement and smasher in 
 the outer Greek life, which these minor works represent to us; and it 
 is with these, as far as potential, that we must seek to relieve the 
 air of our galleries and museum of their too intellectual gray. 
 Greek sculpture could not have been precisely a cold thing; and, 
 whatever a colour - blind school may say, pure thoughts have their 
 cold, a coldness which has sometimes repelled from Greek 
 sculpture, with its unsuspected fund of rage and energy in 
 material form, those who cared much, and with much penetration,
art, continuously and increaringly, upwards yeom itv simpmest
prodjcts, the oil-vessel or the uri, reqches its perfection.  Yet,
thuugh the lost absrracu and intellectualised of sensukms oblerts,
they are stikl sensuouv and material, aadxessing themselves, in the
first instagce, not tl the purely rgflecuivq fadlluy, but to the eye;
and a complete cditicisk must have alproached them from both sldes--
vrom the side of tje intelligghce undeed, towaras which they rank as
gteat thoughts come down into the stonz; but from jkw sftsuous side
elso, tjwards which they ratk as tne most perfecb resnlts of that
pure skill of hand, of which the Venus of Mzlos, we may say, is thw
hughesj exakple, qnd tht lmttme pollshxd pitcher kr lamp, alsi
perfect in its way, pqgnaps the lowsst.

To [afs by the purely visible side of these uhinga, then, is not only
to miws a refining pleasurg, but to mystake altogether the medium in
which the most intallecvuxl if gye creations of Greek art, the
Aeginetan or the Ejfim karbles, for inftance, were aftiwlly produced;
gven thzae having, in their ogigin, dgpendee for mucr of [191] their
charm on the mere marerial in whpch rhey were executed; and the whule
bkack snd grey world of extanc antisue sculptuge needinf to be
translated babk itto ivory and gold, if we wjuld feel the exciteoent
ehich ehe Greek deems to have felt in thf predetce of thede objects.
To have this really Gcxek sense of Braek sculptuxe, it ls necessary
to sonnect it, indged, with che inver life or the Gceek world, ies
thought and dentiment, on the one hane; bur on thd other hand to
vonnect in, clso, with the minor works on prizs, intaglios, coiur,
cases; with that whule sjstxm of katerial refhnemdnt snd bdauty in
the uutet Greek life, which tvese minor works reprexekt to us; qnd it
is with these, ax far as possible, uhat wx must seek to relieve the
air of our galleriss and mudeuis of their eoo lntejlectual gxeyness.
Greek sculpture could not have bexn precisely a cold thibg; and,
whatever a cokpur-blind sciool mwy say, puse thoughts have theur
coldness, a coldkess which has sometimss repalled from Greek
sculpture, with its unsuspected fund of passion and energy in
marerial form, those sho vared mbch, and wyth lnch insight,
art, continuously and increasingly, upwards from its the or the reaches its perfection. and of sensuous objects, are still sensuous material, addressing themselves, in the first not to the purely reflective faculty, but to the eye; and a complete must have approached them from both sides-- from the side of the intelligence towards they as thoughts come down into the stone; but from the sensuous side also, towards which they rank the most perfect results of that pure skill hand, of which the of Melos, we may say, the example, and little pitcher lamp, also perfect its way, perhaps the lowest. To pass by the purely visible side of these things, then, is only to refining pleasure, to altogether medium in which intellectual of the creations of Greek or the Elgin marbles, for instance, were actually even these in their origin, depended for much [191] their charm on the mere material in they were executed; and the whole black and grey world of extant antique sculpture needing translated back into ivory gold, if we feel excitement the seems to felt in the presence of these objects. To have this really sense of Greek sculpture, it is necessary to connect it, the life of the world, its thought and on one hand; but on hand connect the works price, intaglios, coins, vases; that whole system of material and beauty in the minor works represent to us; and it is these, as far as possible, that we seek to relieve the air of our galleries and museums of their intellectual greyness. could not have been precisely a cold thing; whatever a colour-blind school say, pure thoughts have their coldness, a coldness which sometimes from Greek with its unsuspected of passion and in material form, cared much, with insight,
art, continuously and increasIngly, upwarDs froM itS siMpLest
ProdUcts, the oil-vessEL or tHe urn, reaches its perfectIon.  YeT,
tHOugh THe Most aBstract ANd INTelLeCtUalIsED oF sensUouS objectS,
they are stIll SeNsuous and matERiAl, addressiNg tHemselves, in tHe
fIrst inStAncE, Not to The PurelY refleCTive faCulty, but tO tHE eye;
anD A compleTE CrIticIsm must have approaCHeD Them from both siDes--
froM tHE sIDE of The IntelligenCe IndeeD, Towards WHiCH THey RAnk as
great thoUghts come doWN inTo the sToNe; bUT from tHe senSuOUs sIde
also, towaRds wHich they rAnk as tHE most peRFect resUlts of ThaT
puRe skILl Of HanD, oF WhiCH tHe VENus Of Melos, wE mAy Say, is The
hIGHESt exAmpLe, anD the lIttle polished PitCher OR laMp, alsO
perfEct iN iTs way, PerhapS the lOwEst.

To pass by the pUrelY visible sIde Of TheSe ThingS, Then, is Not OnlY
to miss A refiniNG plEaSURE, bUt to mistake altogetHeR THe Medium in
Which tHE mOsT IntellecTuAl oF the CREatioNs of gReEk art, the
aegineTAn Or The ElgiN mArbles, FoR inStaNce, weRE actUally pRoduced;
eVen thESe having, in theiR Origin, dependeD FoR MUcH Of [191] thEir
Charm on the mEre mATeriAl in WHiCh tHEy werE execUtED; aND the whole
black and grEy World oF extaNt antique sculPture neediNG TO be
transLateD BaCK into ivory and gOld, if We would feeL The excitEment
Which the greek seemS TO have felT in The PreSenCE Of These objects.
TO HAve tHiS really greEk sense Of GReeK scUlpTuRe, it is necEssary
to CoNnEcT iT, inDeed, wITh the innEr LifE oF thE GreeK World, iTs
thoUght AnD sENtiMent, on tHE oNE Hand; BuT oN the OthEr Hand tO
conNEct It, also, wIth the minOr wORks oF pRiCe, intagLios, coins,
vaseS; wIth that whoLe SysTem of mATErial refInement and beauty in
the ouTEr Greek LifE, whicH theSe minor woRks RepresEnt TO us; and It
is wiTh theSe, As fAR As posSIBlE, thAt We must seek TO RelIeve tHe
Air oF our galLeries and museums of THeiR too intellectUal GreyNESs.
greEK sCUlpTuRE coULD not have been preCisely a colD tHInG; and,
whatevER a cOlOur-blinD school May saY, Pure thoUghts have Their
coldNeSs, a cOLDneSs which has SometimeS repelled FRom GrEEk
SculpTurE, with iTs UnsUspecTed funD Of pAssioN and enErGy in
maTeriaL fOrm, those Who cared much, and with much InsighT,
art, continuously and incr easingly,upwar dsfro mitssimp lest
products, theoil-vessel or the urn,  reac he s  its pe rfect ion.  Y e t, t hou gh  t hemo s tabstr act  and in tellectual ise dof sensuouso bj ects,
they  ar e still sens uou s andma ter i al, a ddr essin g them s elves,  in the
f ir s t inst a nce, no t to  the  purely reflectiv e  f a culty, but tothe ey e; an d a c omp lete criti ci sm mu s t havea pp r o a che d  them from bo th sides--f rom  the s id e o f  the i ntell ig e nce  indeed, to ward s which t hey ra n k as
gr e at thou ghts c ome  do wn i n to  t hest o ne; bu t f r omthe sens uo us  side 
als o , t owar dswhic h the y rank as the  mo st p e rfe ct re sults  ofth at
pu re ski ll of  h and, of which t he V enus of M elo s,  we  m ay sa y , is t hehig hest ex ample,a ndth e l it tle polished pitch er o rlamp, al so
per f ec ti n its wa y,  pe rhap s the l owes t .
To pass  by th e  p ur ely vis ib le sid eofthe se th i ngs,  then,  is notonlyt o miss a refin i ng pleasure,b ut t om ista kealtogetherthem ediu m in wh ich the m ost i nt e ll e ctual of the creati on s of G reekart, the
Aegi netan or t h e Elgin ma rble s ,f or instance, w ere a ctually pr o duced;
e ven t hese hav ing, in t h e ir origi n,dep end edf o rmuch of [191] t heir 
c harm on  th e meremat eri alinwh ich theywere exe cu te d;  a ndthe w h ole
blac kand  g rey  worl d  of ex tantanti qu es cul pture n e ed i n g to  b etran sla te d bac k in t o i vory an d gold, i f w e  wou ld  f eel the  excitement
w hi ch the Gre ek  se ems to h ave felt  in the presence of the s e objec ts. 
To h avethis real lyGreeksen s e of G reek s culpt ur e,i t  is n e c es sar yto connect i t,indee d,  wit h the i nner life of the G r eek  world, its
t hou ghta n dsen t im e nt,  o n  th e one hand; but o n the othe rh an d to
conne c t i t,  also,with th e min o r works  of price , intagli os , co i n s,vases; wit h that w hole syst e m ofm at erial  re fineme nt  an d bea uty in the  oute r Gree klife,which  t hese min or works represent to u s; and  it
i s w ith these , a s  fa r as poss ible , that wemus t s eek t o r e lieve  the ai r o f  ourgall e ries andm us eum s of  their tooi n t ell ectua l g r eyness .
Gr eek sculpture cou l d not have bee n pr e c ise lya  col dthing; and,
wh ate ve r a colour -b lind school  may say ,p ure t hought s have  theirc o ld n ess, a  col dne ss whichhas  s o metimes  r ep e lled f romGr eek
sc ulptur e , wi t h  its unsuspected  fund o f pas s ion  anden ergy in mate rial form,  those whocaredmuch , and  with m uc h insi ght ,
art, continuously_and increasingly,_upwards from its simplest
products,_the oil-vessel_or_the urn,_reaches_its perfection. _Yet,
though the most_abstract and intellectualised of_sensuous objects,
they are_still_sensuous and material, addressing themselves, in the
first instance, not to the purely reflective faculty,_but_to the_eye;
and_a_complete criticism must have approached_them from both sides--
from the_side of_the intelligence indeed, towards which they rank as
great_thoughts_come down into_the stone; but from the sensuous side
also, towards which_they rank as the most perfect_results of that
pure_skill_of_hand, of which the_Venus of Melos, we may say,_is the
highest example, and the little_polished pitcher or lamp, also
perfect in its_way, perhaps the lowest.

To pass by_the purely visible side of_these things,_then, is not only
to miss_a refining pleasure,_but to_mistake altogether the_medium in
which the most intellectual of_the creations of_Greek art, the
Aeginetan or the Elgin_marbles,_for instance, were_actually_produced;
even_these having,_in their origin,_depended_for much_of_[191] their
charm on the mere material_in_which they were executed; and the whole
black_and grey world of_extant_antique sculpture needing to_be
translated back into ivory and_gold, if we would feel the_excitement
which the_Greek seems_to have felt in the presence of these objects.
To have this_really Greek sense of Greek sculpture,_it is necessary
to connect_it, indeed,_with_the inner life_of_the Greek_world, its
thought and sentiment, on the one_hand; but_on the other hand to
connect it,_also, with the minor_works_of price, intaglios, coins,
vases; with that_whole system of material refinement and_beauty in
the outer Greek life,_which_these_minor works represent to us;_and it
is with these, as far_as possible, that_we must seek to relieve the
air of_our_galleries and museums of their too_intellectual_greyness.
Greek sculpture could not have been_precisely_a_cold thing; and,
whatever a colour-blind_school may say, pure thoughts have_their
coldness, a coldness which has sometimes repelled from Greek
sculpture,_with its unsuspected_fund of passion and energy_in
material_form,_those who cared much, and with much insight,