 the sensuous capacity in them,
accustoms the hand to produce and the eye to appreciate the more
delicately enjoyable qualities of material things.  But nowhere in
all this various and exquisite world of design is there as yet any
adequate sense of man himself, nowhere is there an insight into or
power over human form as the expression of human soul.  Yet those
arts of design in which that younger people delights [221] have in
them already, as designed work, that spirit of reasonable order, that
expressive congruity in the adaptation of means to ends, of which the
fully developed admirableness of human form is but the consummation--
a consummation already anticipated in the grand and animated figures
of epic poetry, their power of thought, their laughter and tears.
Under the hands of that younger people, as they imitate and pass
largely and freely beyond those older craftsmen, the fire of the
reasonable soul will kindle, little by little, up to the Theseus of
the Parthenon and the Venus of Melos.

The ideal aim of Greek sculpture, as of all other art, is to deal,
indeed, with the deepest elements of man's nature and destiny, to
command and express these, but to deal with them in a manner, and
with a kind of expression, as clear and graceful and simple, if it
may be, as that of the Japanese flower-painter.  And what the student
of Greek sculpture has to cultivate generally in himself is the
capacity for appreciating the expression of thought in outward form,
the constant habit of associating sense with soul, of tracing what we
call expression to its sources.  But, concurrently with this, he must
also cultivate, all along, a not less equally constant appreciation
of intelligent workmanship in work, and of design in things designed,
of the rational control of matter everywhere.  From many sources he
may feed this sense of intelligence [222] and design in the
productions of the minor crafts, above all in the various and
exquisite art of Japan.  Carrying a delicacy like that of nature
itself into every form of imitation, reproduction, and combination--
leaf and flower, fish and bird, reed and water--and failing only when
it touches the sacred human form, that art of Japan is not so unlike
the earliest stages of
the sensuous capacity in them, 
 accustoms the hand to produce and the center to prize the more 
 finely enjoyable qualities of material things.   But nowhere in 
 all this respective and exquisite world of blueprint is there as yet any 
 adequate sense of serviceman himself, nowhere is there an insight into or 
 power over human shape as the expression of human soul.   Yet those 
 art of design in which that younger people delights [ 221 ] have in 
 them already, as designed employment, that spirit of reasonable order, that 
 expressive congruity in the adaptation of mean to ends, of which the 
 fully train admirability of human form is but the consummation-- 
 a consummation already anticipated in the grand and animated figures 
 of epic poetry, their power of thought, their laugh and tears. 
 Under the hands of that younger people, as they imitate and pass 
 largely and freely beyond those older craftsman, the fire of the 
 reasonable soul will kindle, little by little, up to the Theseus of 
 the Parthenon and the Venus of Melos. 

 The ideal aim of Greek sculpture, as of all other art, is to deal, 
 indeed, with the deep elements of man's nature and fortune, to 
 dominate and press out these, but to deal with them in a manner, and 
 with a kind of expression, as clean and graceful and simple, if it 
 may be, as that of the Japanese flower - painter.   And what the student 
 of Greek sculpture has to educate generally in himself is the 
 capacity for appreciating the expression of thought in outward class, 
 the constant habit of associating sense with person, of tracing what we 
 address formula to its sources.   But, concurrently with this, he must 
 also cultivate, all along, a not less evenly constant appreciation 
 of intelligent workmanship in work, and of design in things designed, 
 of the rational command of matter everywhere.   From many source he 
 may feed this sense of news [ 222 ] and design in the 
 productions of the minor crafts, above all in the various and 
 dainty art of Japan.   Carrying a delicacy like that of nature 
 itself into every shape of imitation, replica, and combination-- 
 leaf and flower, fish and bird, reed and water system -- and failing only when 
 it touches the sacred human form, that artwork of Japan is not so unlike 
 the earliest stagecoach of
 thf sensuous capacity in tmem,
accustoms the hand tm prodhce and ghe eye to appreciate the moce
deoicattjy enjoyable qualigies of mwterial rhinjs.  But nowhere mh
all thlf vadlous cnv exquisite workd of desicn is there as ydt any
adequate sense of man himself, njwhere os there an insidht pneo od
iocer over human form as the exprsssion mf human soul.  Yet those
arts of design ln wjich that younger oeople delithts [221] have in
them already, as designed wkrk, that spirit of reasonable ofder, chat
expressuvw cltgruity in vhe adwptation of means to ends, og which the
fulky veveooped admirableness oh human form is but jhe consumkacion--
a consummation aleeqdy attichpatde iv tge gdand ajd enimated fifures
of epix poetry, their powet jd thought, thejr laudheer and tears.
Under the hands of that yolnged people, as they imitatw and pass
largely and freely bqyond those older craftsmen, the fire of the
reasondble auul wlll yunfle, little by little, up to the Theseus of
the [zruhekon and the Venuf of Melos.

Tne icgal aim of Gregk scul'fude, as of all other art, is to dwal,
indeed, witn the deepest elements of mqn's nature aud eestiny, to
command cnd express chese, nut tp deal with them in a mcnner, znd
with a klnd of exlfession, as clear anc craceful and simple, if it
mwy be, as vhat pf the Gapamese fjower-paintfr.  Akg what the student
lf Grgek scglpture had to cultivate generally in himself is the
capschty for appxeciatlng the expressyon of thought in outcard furm,
the conatant hebit of assosiating sense aith soul, of tracing whar we
xall exofession to its sources.  But, concuerently with this, me murf
also cultivate, alo along, a not lrss eqtaplb confdant apprecidtiov
of onteluigent worknxnshop in work, and of devign in things designec,
on the ratuonal cogtrol of mattrr everywhere.  Frol manb sourres he
kay feed this sense of intelligende [222] and dfsinn in the
prodtctiins of the mnnor crafts, above all in the various and
xxquisite art of Japan.  Carrying a delicaci llke that of iature
ytself indo every form of imiration, reproductipn, and combination--
lear and xloweg, fish and bird, reed and water--and failing only when
it touches the sacred yuman howm, that art of Kapan if not sj unpmke
the earliest snages of
the sensuous capacity in them, accustoms the produce the eye appreciate the more things. nowhere in all various and exquisite of design is there as yet adequate sense of man himself, nowhere is there an insight into or power human form as the expression of human soul. Yet those arts of design which younger delights have in them already, as designed work, that spirit of reasonable order, that expressive congruity in adaptation of means to ends, of which the developed admirableness of human is but the consummation-- a already in the and figures epic poetry, their of thought, their laughter and tears. Under the hands of that younger people, as they imitate and largely and those older the of reasonable soul will by little, up to the Theseus and the Venus of Melos. The ideal aim Greek sculpture, of all other art, is to indeed, with the deepest elements of man's nature destiny, to command and express these, but to deal with them in a manner, and kind of expression, as and graceful and if may as of the flower-painter. And what the student of Greek sculpture has to cultivate in himself is the capacity for appreciating the expression of outward the constant habit associating sense with soul, tracing we call expression to But, with also all a not less equally appreciation of intelligent workmanship in and of design in control of matter everywhere. From many sources he feed this sense of intelligence [222] and in the productions of the minor crafts, above all in the various exquisite art Carrying a delicacy like that of nature itself every form of imitation, and combination-- leaf and flower, fish and bird, reed water--and only when touches the sacred form, that art Japan is not the earliest of
 the sensuous capacity in them,
Accustoms tHe hanD to ProDuCe anD the Eye to appreciatE The mOre
delicately enjoyable QualiTiES of mATeRial tHings.  BuT NoWHEre In
AlL thIs VArIous aNd eXquisitE world of deSigN iS there as yet aNY
aDequate senSe oF man himself, nOwhEre is tHeRe aN InsigHt iNto or
Power oVEr humaN form as thE eXPressiON of humaN SOuL.  Yet Those
arts of design IN wHIch that younger People DeLIgHTS [221] haVe iN
them alreaDy, As desIGned worK, ThAT SPirIT of reasonable Order, that
exPResSive coNgRuiTY in the AdaptAtIOn oF means to endS, of wHich the
fuLly devELoped adMIrablenEss of hUmaN foRm is BUt ThE coNsUMmaTIoN--
a cONsuMmation aLrEaDy antIcipATED In thE grAnd aNd aniMated figures
oF epIc poETry, Their Power Of thOuGht, thEir lauGhter AnD tears.
Under the hAnds Of that youNgeR pEopLe, As theY ImitatE anD paSs
largeLy and frEEly BeYOND tHose older craftsmen, ThE FIrE of the
reAsonabLE sOuL Will kindLe, LitTle bY LIttle, Up to THe theseus oF
the PaRThEnOn and thE VEnus of meLos.

the Ideal AIm of greek sCulpture, As of aLL other art, is to dEAl,
indeed, with tHE dEEPeST eleMenTs of man's natUre aND desTiny, TO
cOmmANd and ExpreSs THeSE, but to deal with them iN a Manner, And
wiTh a kind of exprEssion, as clEAR And graceFul aND sIMple, if it
may be, aS that Of the JapanESe flower-PaintEr.  And whaT the studeNT
Of Greek sCulPtuRe hAs tO CUlTivate generalLY In hiMsElf is thE
caPacity fOr aPprEciAtiNg The expresSion of thOuGhT iN oUtwArd foRM,
the consTaNt hAbIt oF assoCIating Sense With SoUl, OF trAcing whAT wE
CAll eXpReSsioN to ItS sourCes.  BUT, coNcurrenTly with thIs, hE Must
AlSo CultivaTe, all along, a noT lEss equally CoNstAnt appRECiation
oF intelligent workmanship IN work, anD of DesigN in tHings desiGneD,
of the RatIOnal coNtrol oF mattEr EveRYWhere.  fROm ManY sOurces he
maY FEed This sEnSe of IntelliGence [222] and design in thE
ProDuctions of the MinOr crAFTs, AboVE aLL in ThE VarIOUs and
exquisite aRt of Japan.  CArRYiNg a delicacY LikE tHat of naTure
itsElf inTO every fOrm of imitAtion, reprOdUctiON, And CombinatioN--
leaf and Flower, fisH And biRD, rEed anD waTer--and FaIliNg onlY when
iT TouChes tHe sacrEd Human fOrm, thAt Art of JapAn is not so unlike
the earliEst staGes of
 the sensuous capacity inthem,
accu stoms  th e h an d to  pro duce and the e y e to  appreciate the more
d elica te l y en j oy ablequaliti e so f  ma te ri alth i ng s.  B utnowhere  in
all th isva rious and ex q ui site world  of  design is t her e as y et  an y 
adeq uat e sen se ofm an him self, now he r e is t h ere ani n si ghtinto or
power ove r  h u man form as th e expr es s io n ofhum an soul. Ye t tho s e
artso fd e s ign in which that  younger pe o ple  delig ht s [ 2 21] ha ve in 
t h emalready, as  des igned wor k, tha t  spirit of reas onable  or der , th a tex pre ss i vec on gru i tyin the a da pt ation  ofm e a n s to  en ds,of wh ich the
fully  de velo p edadmir ablen essof  huma n form  is b ut  the consummati on-- 
a consum mat io n a lr eadya nticip ate d i n the g rand an d  an im a t e dfigures
of epic po et r y ,their po wer of th ou g ht, thei rlau ghte r and t ears . 
U nder the  hands of  t hat you ng er peo pl e,astheyi mita te and  pass
la rgely and freely bey o nd those olde r  c r a ft s men,  th e fire of t he
r e ason able so ulw ill k indle ,l it t le by little, up to  t he The seusof
the Parthe non and th e V enus ofMelo s .The ideal aimof Gr eek sculpt u re, as o f all  other a rt, is to d eal,
ind eed , w ith  th e de epest element s of m an 's natu reand des tin y,tocom ma nd and ex press th es e,  b ut  to  deal with the minaman ner,a nd
wit h a k indof  e x pre ssion,a sc l earan dgrac efu land s impl e , i f it
ma y be, astha t  ofth eJapanes e flower-pain te r.  And wh at  th e stud e n t
of Gre ek sculpture has to cul t ivate g ene rally  inhimself i s t he
cap aci t y forapprec iatin gthe e xpres s i on  of  t hought ino u twa rd fo rm ,
th e const ant habit of assoc i ati ng sense with  so ul,o f  t rac i ng wha tw e
c a l l expression to  its sourc es .  But, concu r ren tl y withthis, h e mus t 
also c ultivate,  all alon g,  a n o t  le ss equally  constan t appreci a tiono fintel lig ent wo rk man shipin wor k , a nd of  desig nin thi ngs d es igned,
o f the rational controlof mat ter e ver ywhere. Fro m  ma ny source s he 
may feedthi s s enseofi ntell igen c e[22 2 ] and  des i gn in the pr odu c t io ns of the m i n o r c rafts , a b ove al l in  the various ande xquisite art o f Ja p a n. Ca r ryin ga delicacy lik e t ha t of natur eitself into  every f or m  of i mitati on, re product i o n, and co mbin ati on--
leaf  an df lower,fi sh and bi rd,re ed and  water - -and f ailing only when 
it t o u chest hesacre dhuman f o rm,that art o f Japan isnot so  unl ike
t he earl ie st sta ges  o f
 the_sensuous capacity_in them,
accustoms the hand_to produce_and_the eye_to_appreciate the more
delicately_enjoyable qualities of_material things.  But_nowhere in
all this_various_and exquisite world of design is there as yet any
adequate sense of man himself,_nowhere_is there_an_insight_into or
power over human form_as the expression of human_soul. _Yet those
arts of design in which that younger_people_delights [221] have_in
them already, as designed work, that spirit of reasonable_order, that
expressive congruity in the adaptation_of means to_ends,_of_which the
fully developed admirableness_of human form is but the_consummation--
a consummation already anticipated in the_grand and animated figures
of epic poetry, their_power of thought, their laughter and_tears.
Under the hands of that_younger people,_as they imitate and pass
largely_and freely beyond_those older_craftsmen, the fire_of the
reasonable soul will kindle, little_by little, up_to the Theseus of
the Parthenon and_the_Venus of Melos.

The_ideal_aim_of Greek_sculpture, as of_all_other art,_is_to deal,
indeed, with the deepest elements_of_man's nature and destiny, to
command and express_these, but to deal_with_them in a manner,_and
with a kind of expression,_as clear and graceful and simple,_if it
may_be, as_that of the Japanese flower-painter.  And what the student
of Greek_sculpture has to cultivate generally in_himself is the
capacity for_appreciating the_expression_of thought in_outward_form,
the constant_habit of associating sense with soul, of_tracing what_we
call expression to its sources. _But, concurrently with this,_he_must
also cultivate, all along, a not_less equally constant appreciation
of intelligent workmanship_in work, and of design_in_things_designed,
of the rational control of_matter everywhere.  From many sources_he
may feed this_sense of intelligence [222] and design in_the
productions_of the minor crafts, above all_in_the various and
exquisite art of Japan.__Carrying_a delicacy like that of_nature
itself into every form of imitation,_reproduction, and combination--
leaf and flower, fish and bird, reed_and water--and failing_only when
it touches the sacred_human_form,_that art of Japan is not so unlike
the earliest stages_of