 that those things might be felt as warm, and
fresh, and blue, by the young and the old, the weak and the strong,
who came to sun themselves in the god's presence, as procession and
hymn rolled on, in the fragrant and tranquil courts of the great
Olympian temple; while all the time those people consciously
apprehended in the carved image of Zeus none but the personal, and
really human, characteristics.

Or think, again, of the Zeus of Dodona.  The oracle of Dodona, with
its dim grove of oaks, and sounding instruments of brass to husband
the faintest whisper in the leaves, was but a great consecration of
that sense of a mysterious will, of which people still feel, or seem
to feel, the expression, in the motions of the wind, as it comes and
goes, and which makes it, indeed, seem almost more than a mere symbol
of the spirit within us.  For Zeus was, indeed, the god of the winds
also; Aeolus, their so-called god, being only his mortal minister, as
having come, by long study of them, through signs in the fire and the
like, to have a certain communicable skill regarding them, in
relation to practical uses.  Now, suppose a Greek sculptor to have
proposed to himself to present [32] to his worshippers the image of
this Zeus of Dodona, who is in the trees and on the currents of the
air.  Then, if he had been a really imaginative sculptor, working as
Pheidias worked, the very soul of those moving, sonorous creatures
would have passed through his hand, into the eyes and hair of the
image; as they can actually pass into the visible expression of those
who have drunk deeply of them; as we may notice, sometimes, in our
walks on mountain or shore.

Victory again--Niké--associated so often with Zeus--on the top of his
staff, on the foot of his throne, on the palm of his extended hand--
meant originally, mythologic science tells us, only the great victory
of the sky, the triumph of morning over darkness.  But that physical
morning of her origin has its ministry to the later aesthetic sense
also.  For if Niké, when she appears
that those things might be felt as warm, and 
 bracing, and aristocratic, by the young and the old, the weak and the potent, 
 who came to sun themselves in the god's presence, as progress and 
 hymn roll on, in the fragrant and tranquil courts of the bang-up 
 Olympian temple; while all the prison term those people consciously 
 apprehended in the carve trope of Zeus none but the personal, and 
 really human, characteristic. 

 Or think, again, of the Zeus of Dodona.   The oracle of Dodona, with 
 its dimmed grove of oaks, and sounding instruments of brass section to husband 
 the faintest whisper in the leaf, was but a great consecration of 
 that sense of a mysterious will, of which people however feel, or seem 
 to feel, the expression, in the motions of the wind, as it comes and 
 goes, and which makes it, indeed, seem almost more than a mere symbol 
 of the spirit within us.   For Zeus was, indeed, the god of the winds 
 also; Aeolus, their so - call god, being only his mortal curate, as 
 having hail, by farseeing study of them, through signs in the ardor and the 
 like, to accept a certain communicable skill involve them, in 
 relation to practical uses.   Now, suppose a Greek sculptor to have 
 proposed to himself to award [ 32 ] to his worshippers the image of 
 this Zeus of Dodona, who is in the trees and on the currents of the 
 air.   Then, if he had been a really imaginative sculptor, cultivate as 
 Pheidias worked, the very soul of those moving, sonorous creature 
 would have passed through his hand, into the eyes and hair's-breadth of the 
 image; as they can actually pass into the visible expression of those 
 who have drunk profoundly of them; as we may notice, sometimes, in our 
 walks on mountain or shore. 

 Victory again -- Niké -- associated so frequently with Zeus -- on the top of his 
 staff, on the animal foot of his throne, on the decoration of his extended hand-- 
 meant primitively, mythologic science order us, only the bang-up victory 
 of the sky, the triumph of dawn over darkness.   But that physical 
 morning of her origin has its ministry to the subsequently aesthetic sense 
 also.   For if Niké, when she look
 thwt those things might be felt as warm, aue
fresh, and bmue, by tfe young and the old, the wean qnd tye strong,
who came to sjn themsepves in rhe jod's presence, as processljn ahf
hymu colled on, in thg fragrant atd tranquil cogrgs of the great
Olympian temple; while wll the tlme those peopje cpgsciklsoy
apprehended in the carved ijage of Zeus none buy the personal, and
really hkman, characteristics.

Or think, agaib, of rhe Zeus of Aodona.  Tht mracle of Sodona, with
its dim grove of oakr, and sounding unwtrkkents of bress to husband
the nsintesd whisprr in the leavcs, wav byt a great consecratimn of
that sense of a mysterhobs will, of which peopoe stiln feal, of sedm
tk heem, the fxpcession, in fhe motions of the wind, as it voivx and
goes, ans whicr iakes it, indeed, seem almost more than a mede symbol
of the spirit qithin us.  For Zeus wws, indeed, the god of the winds
also; Aeolus, their so-called gmd, bemne ouoy hir mlrtal minister, as
having come, by long study of fhtm, nhrough signs in bhe fire and the
lile, tp have a certakn communjcable skill regarfing thgm, in
rwlation tj prsctical uses.  Now, suppose a Greek sculpnor ro have
proposed to himself to prexent [32] to his worshippers the imafe of
this Zfus of Dosuna, who is in thd tgees and on ufe currents of thq
air.  Thei, if ke had bden s realjy imaginahive sculptor, working as
Oheidnas wmrked, the gery soul of those moving, sonorous creatures
wpund vave pasfed tmrough his hand, into the eyes and hanr of ghe
image; aa they ran actually pass into tha visible expcession os thise
wyo have arunk deeply og them; as we may norice, sometimes, in pur
dzlks on mountaiu ir shore.

Victory agxin--Giné--axsjwiated so ofden ditf Zeus--un the ujp uf hos
staff, on the foot mf hjs throne, on the psli of his extendeq hand--
meant otiginally, mythologlc scmence vells is, jnly the great victory
of the siy, the trlumih of morning ovev datkness.  But that physical
morning of her origin has its ministry to jhe later aesthetic sgnst
also.  For if Niké, rhen she dppears
that those things might be felt as fresh, blue, by young and the strong, came to sun in the god's as procession and hymn rolled on, the fragrant and tranquil courts of the great Olympian temple; while all the those people consciously apprehended in the carved image of Zeus none but the and human, Or again, of the Zeus of Dodona. The oracle of Dodona, with its dim grove of oaks, sounding instruments of brass to husband the faintest in the leaves, was a great consecration of that of mysterious will, which still or seem to the expression, in the motions of the wind, as it comes and goes, and which makes it, seem almost a mere of spirit us. For Zeus the god of the winds also; god, being only his mortal minister, as having by long of them, through signs in the and the like, to have a certain communicable regarding them, in relation to practical uses. Now, suppose a Greek sculptor to have proposed to present [32] to worshippers the image this of who in the and on the currents of the air. Then, if he had a really imaginative sculptor, working as Pheidias worked, the very those sonorous creatures would passed through his hand, the and hair of the they actually visible of who have drunk deeply them; as we may notice, in our walks on so often with Zeus--on the top of his on the foot of his throne, on palm of his extended hand-- meant originally, mythologic science tells us, only great victory sky, the triumph of morning over darkness. But physical morning of her has its ministry to the later aesthetic sense also. if when she
 that those things might be felT as warm, and
Fresh, And BluE, bY the YounG and the old, the wEAk anD the strong,
who came to sun ThemsElVEs in THe God's pResence, AS pROCesSiOn And
HyMN rOlled On, iN the fraGrant and trAnqUiL courts of the GReAt
Olympian TemPle; while all tHe tIme thoSe PeoPLe conSciOusly
ApprehENded in The carved ImAGe of ZeUS none buT THe PersOnal, and
really humaN, ChARacteristics.

Or Think, aGaIN, oF THe ZEus Of Dodona.  ThE oRacle OF Dodona, WItH
ITS diM Grove of oaks, anD sounding inSTruMents oF bRasS To husbAnd
thE fAIntEst whisper iN the Leaves, was But a grEAt conseCRation oF
that sEnsE of A mysTErIoUs wIlL, Of wHIcH peOPle Still feeL, oR sEem
to Feel, THE EXpreSsiOn, in The moTions of the winD, as It coMEs aNd
goeS, and wHich MaKes it, Indeed, Seem aLmOst more than a merE symBol
of the sPirIt WitHiN us.  FoR zeus waS, inDeeD, the god Of the wiNDs
aLsO; aEOlUs, their so-called god, BeING oNly his moRtal miNIsTeR, As
having CoMe, bY lonG STudy oF theM, ThRough sigNs in thE FiRe And the
lIkE, to havE a CerTaiN commUNicaBle skiLl regardIng thEM, in
relation to pRActical uses.  NoW, SuPPOsE A GreEk sCulptor to haVe
prOPoseD to hIMsElf TO presEnt [32] to HiS WoRShippers the image of
tHiS Zeus oF DodoNa, who is in the tRees and on tHE CUrrents oF the
AIr.  tHen, if he had been A realLy imaginatIVe sculptOr, worKing as
PhEidias worKED, the very SouL of ThoSe mOVInG, sonorous creaTURes
wOuLd have pAssEd throuGh hIs hAnd, IntO tHe eyes and Hair of thE
iMaGe; As TheY can aCTually paSs IntO tHe vIsiblE ExpresSion oF thoSe
WhO HavE drunk dEEpLY Of thEm; As We maY noTiCe, somEtimES, in Our
walkS on mountaIn oR ShorE.

VIcTory agaIn--Niké--associaTeD so often wiTh zeuS--on the TOP of his
stAff, on the foot of his throne, ON the palM of His exTendEd hand--
meaNt oRiginaLly, MYtholoGic sciEnce tElLs uS, ONly thE GReAt vIcTory
of the sKY, The TriumPh Of moRning ovEr darkness.  But that pHYsiCal
morning of hEr oRigiN HAs Its MInIStrY tO The LATer aesthetic senSe
also.  For iF NIKé, When she appEArs
 that those things might b e felt aswarm,  an d
f re sh,andblue, by the y o ungand the old, the weakand t he stro n g, 
whocame to su n the ms el ves  i n  t he go d's  presen ce, as pro ces si on and
hymnr ol led on, in  th e fragrant a ndtranqu il  co u rts o f t he gr eat
Ol y mpiantemple; w hi l e allt he time t ho se p eople consciously ap p rehended in th e carv ed im a g e o f Z eus none b ut  thep ersonal ,  a n d rea l ly human, cha racteristic s .
Or thi nk , a g ain, o f the  Z e usof Dodona. The  oracle o f Dodo n a, with its dim  grove  of  oa ks,a nd  s oun di n g i n st rum e nts  of bras sto  husb andt h e fain tes t wh isper  in the leave s,wasb uta gre at co nsec ra tionof
tha t sen se  of a mysteriou s wi ll, of wh ich  p eop le  stil l  feel,  or  se em
to f eel, th e  ex pr e s s io n, in the motionsof t he  wind, a s it c o me sa nd
goes,  a ndwhic h makes  it, in deed, se em alm o st  m ore tha na mere  s ymb olof th e  spi rit wi thin us.   For Zeus was, inde e d, the god of th e wi n ds
a lso ; Aeolus, t heir so-c alle d  g od, being  only  h i sm ortal minister, asha ving c ome,by long study  of them,t h r ough sig ns i n  t h e fire and the 
like , to havea  certain  comm unicable  skill re g a rding th em,  in 
re lat i o nto practicalu s es. N ow, sup pos e a Gre ekscu lpt orto  have
pro posed to  h im se lf  to  pres e nt [32]to  hi swor shipp e rs the  imag e of 
t hi s  Ze us of D o do n a , wh ois  inthe  t reesando n t he curr ents of t hea ir. T he n, if h e had been are ally imagi na tiv e scul p t or, work ing as
Pheidias worked, the ver y s oul o f th ose movin g,sonoro usc reatur es
wou ld ha ve  pa s s ed th r o ug h h is  hand, int o the  eyes  a nd h air ofthe
image; as they can  actually pas s i ntot h evis i bl e  ex pr e ssi o n  of those
who h ave drunkde e pl y of them; aswe  may no tice, s ometi m es, inour
walks  on mount ai n or s hor e.

Victor y again- -Niké--as s ociat e dso of ten  withZe us- -on t he top ofhis
s taff,on  the f oot o fhis thro ne, on the palm of hisextend ed ha nd- -
meant o rig i nal ly, mytho logi c sciencetel lsus, o nly the g reat vi cto r y
ofthes ky, the t r iu mph o fmorning ove r d ark ness.   B u t that  phy sical
morning ofh er origin hasitsm i nis try to t he  later aesthet icse n s e
also. F or if Niké,  when sh ea ppear s
 that_those things_might be felt as_warm, and
fresh,_and_blue, by_the_young and the_old, the weak_and the strong,
who came_to sun themselves_in_the god's presence, as procession and
hymn rolled on, in the fragrant and tranquil courts_of_the great
Olympian_temple;_while_all the time those people_consciously
apprehended in the carved image_of Zeus_none but the personal, and
really human, characteristics.

Or think,_again,_of the Zeus_of Dodona.  The oracle of Dodona, with
its dim_grove of oaks, and sounding instruments_of brass to_husband
the_faintest_whisper in the leaves,_was but a great consecration of
that_sense of a mysterious will, of_which people still feel, or seem
to feel,_the expression, in the motions of_the wind, as it comes_and
goes, and_which makes it, indeed, seem_almost more than_a mere_symbol
of the spirit_within us.  For Zeus was,_indeed, the god_of the winds
also; Aeolus, their so-called_god,_being only his_mortal_minister,_as
having come,_by long study_of_them, through_signs_in the fire and the
like, to_have_a certain communicable skill regarding them, in
relation_to practical uses. _Now,_suppose a Greek sculptor_to have
proposed to himself to_present [32] to his worshippers the_image of
this_Zeus of_Dodona, who is in the trees and on the currents of_the
air.  Then, if he had_been a really imaginative_sculptor, working_as
Pheidias_worked, the very_soul_of those_moving, sonorous creatures
would have passed through his_hand, into_the eyes and hair of the
image;_as they can actually_pass_into the visible expression of those
who_have drunk deeply of them; as_we may notice, sometimes, in_our
walks_on_mountain or shore.

Victory again--Niké--associated so_often with Zeus--on the top of_his
staff, on the_foot of his throne, on the palm_of_his extended hand--
meant originally, mythologic science_tells_us, only the great victory
of the_sky,_the_triumph of morning over darkness._ But that physical
morning of her_origin has its ministry to the later aesthetic sense
also._ For if_Niké, when she appears