ear.
Thus you know in your study of sculpture we saw that the essential aim
of the Greek art was tranquil action; the chief aim of Gothic art
was passionate rest, a peace, an eternity of intense sentiment. As I
go into detail, I shall continually therefore have to oppose Gothic
passion to Greek temperance; yet Gothic rigidity, [Greek: stasis] of
[Greek: ekstasis], to Greek action and [Greek: eleutheria]. You see
how doubly, how intimately, opposed the ideas are; yet how difficult
to explain without apparent contradiction.

63. Now, to-day, I must guard you carefully against a misapprehension
of this kind. I have told you that the Greeks as Greeks made real and
material what was before indefinite; they turned the clouds and the
lightning of Mount Ithome into the human flesh and eagle upon the
extended arm of the Messenian Zeus. And yet, being in all things set
upon absolute veracity and realization, they perceive as they work and
think forward that to see in all things truly is to see in all things
dimly and through hiding of cloud and fire.

So that the schools of Crystal, visionary, passionate, and fantastic
in purpose, are, in method, trenchantly formal and clear; and the
schools of Clay, absolutely realistic, temperate, and simple in
purpose, are, in method, mysterious and soft; sometimes licentious,
sometimes terrific, and always obscure.

[Illustration: MADONNA AND CHILD.

From the painting by Filippo Lippi.]

64. Look once more at this Greek dancing-girl, which is from a terra
cotta, and therefore intensely of the school of Clay; look at her
beside this Madonna of Filippo Lippi's: Greek motion against Gothic
absolute quietness; Greek indifference--dancing careless--against
Gothic passion, the mother's--what word can I use except frenzy of
love; Greek fleshliness against hungry wasting of the self-forgetful
body; Greek softness of diffused shadow and ductile curve, against
Gothic lucidity of color and acuteness of angle; and Greek simplicity
and cold veracity against Gothic rapture of trusted vision.

65. And now I may safely, I think, go into our work of to-day without
confusing you, except only in this. You will find me continually
speaking of four men--Titian, Holbein, Turner, and Tintoret--in
almost the same terms. They unite every quality; and sometimes you
will find me referring to them as colorists, sometimes as
chiaroscurists. Only remember this, that Holbein and Turner are Greek
chiaroscurists, nea