ods, as an essential part of the State religion, and as embodying the
ideals of the race or of the city, are no longer to be found, except in
a somewhat lifeless continuance of the fifth-century tradition. The
intensity of expression which we find in human heroes is, indeed,
expressed also in such types as that of Apollo the musician or of
Dionysus the god of inspired enthusiasm. But this tendency is not fully
developed until a later age. The subtle distinctions of character
between the different gods are, on the other hand, now most keenly
observed and most skilfully rendered. But in spite of this, one does not
feel that the artist has the same belief in the gods and in their power
as we can see in the Phidian age. If his artistic attainment is possibly
more skilful, the religious import of his work is certainly less.

CHAPTER VII

PERSONIFICATION, CONVENTION, AND SYMBOLISM

In the Hellenistic age we find the Greek types of the gods adapting
themselves to new conditions and new meanings. With the conquests of
Alexander, Greek language and civilisation spread over the Eastern
world; and with them went the artistic forms of the Greek pantheon,
though often to be modified by local beliefs or influences. Similarly,
when at a later time the Roman conquest of Greece spread Hellenic
influence to the West, there also the types of the Greek deities came to
be adopted or adapted to new mythological meanings. Greek art
practically became cosmopolitan; its influence was broadened; but at the
same time its essential nature, in its harmony with the imagination of
the Hellenic race, was lost or obscured. It becomes more intelligible to
us for this very reason, but at the same time less instructive in its
relation to religious conceptions.

In the art of the Hellenistic and Graeco-Roman age we find two main
tendencies, the one towards academic generalisation, and the other
towards excessive realism, often coupled with a theatrical or
sensational treatment. This latter is the more interesting to us, partly
because it is in itself more original, partly because it is more in
accordance with modern artistic practice. The two tendencies are by no
means rigidly distinguished; for example, we often find a theatrical
treatment combined with academic work; and throughout are to be seen
traces of eclecticism--that is to say, of the habit of imitating or
reproducing, often in an unintelligent manner, the devices and even the
style of