n his fellow-spirits;--setting before you,
I say, this profile of a God-made, instead of a self-made, man, I know
that you will feel, on the instant, that you are brought into contact
with the vital elements of human art; and that this, the sculpture of
the good, is indeed the only permissible sculpture.

138. A God-made _man_, I say. The face, indeed, stands as a symbol of
more than man in its sculptor's mind. For as I gave you, to lead your
first effort in the form of leaves, the scepter of Apollo, so this,
which I give you as the first type of rightness in the form of flesh, is
the countenance of the holder of that scepter, the Sun-God of Syracuse.
But there is nothing in the face (nor did the Greek suppose there was)
more perfect than might be seen in the daily beauty of the creatures the
Sun-God shone upon, and whom his strength and honor animated. This is
not an ideal, but a quite literally true, face of a Greek youth; nay, I
will undertake to show you that it is not supremely beautiful, and even
to surpass it altogether with the literal portrait of an Italian one. It
is in verity no more than the form habitually taken by the features of a
well-educated young Athenian or Sicilian citizen; and the one
requirement for the sculptors of to-day is not, as it has been thought,
to invent the same ideal, but merely to see the same reality.

[Illustration: VIII.

THE APOLLO OF SYRACUSE, AND THE SELF-MADE MAN.]

[Illustration: IX.

APOLLO CHRYSOCOMES OF CLAZOMENAE.]

Now, you know I told you in my Fourth Lecture[28] that the beginning of
art was in getting our country clean and our people beautiful, and you
supposed that to be a statement irrelevant to my subject; just as, at
this moment, you perhaps think I am quitting the great subject of this
present Lecture--the method of likeness-making,--and letting myself
branch into the discussion of what things we are to make likeness of.
But you shall see hereafter that the method of imitating a beautiful
thing must be different from the method of imitating an ugly one; and
that, with the change in subject from what is dishonorable to what is
honorable, there will be involved a parallel change in the management of
tools, of lines, and of colors. So that before I can determine for you
_how_ you are to imitate, you must tell me what kind of face you wish to
imitate. The best draughtsman in the world could not draw this Apollo in
ten scratches, though he can draw the self-made