shall limit myself to the definition
of the temper of Greek sculpture, and of its distinctions from
Florentine in the treatment of any subject whatever, be it love or
hatred, hope or despair.

These great differences are mainly the following.

191. First. A Greek never expresses momentary passion; a Florentine
looks to momentary passion as the ultimate object of his skill.

When you are next in London, look carefully in the British Museum at the
casts from the statues in the pediment of the Temple of Minerva at
AEgina. You have there Greek work of definite date--about 600 B. C.,
certainly before 580--of the purest kind; and you have the
representation of a noble ideal subject, the combats of the AEacidae at
Troy, with Athena herself looking on. But there is no attempt whatever
to represent expression in the features, none to give complexity of
action or gesture; there is no struggling, no anxiety, no visible
temporary exertion of muscles. There are fallen figures, one pulling a
lance out of his wound, and others in attitudes of attack and defense;
several kneeling to draw their bows. But all inflict and suffer, conquer
or expire, with the same smile.

192. Plate XIV. gives you examples, from more advanced art, of true
Greek representation; the subjects being the two contests of leading
import to the Greek heart--that of Apollo with the Python, and of
Hercules with the Nemean Lion. You see that in neither case is there the
slightest effort to represent the [Greek: lyssa], or agony of contest.
No good Greek artist would have you behold the suffering either of
gods, heroes, or men; nor allow you to be apprehensive of the issue of
their contest with evil beasts, or evil spirits. All such lower sources
of excitement are to be closed to you; your interest is to be in the
thoughts involved by the fact of the war; and in the beauty or rightness
of form, whether active or inactive. I have to work out this subject
with you afterwards, and to compare with the pure Greek method of
thought that of modern dramatic passion, ingrafted on it, as typically
in Turner's contest of Apollo and the Python: in the meantime, be
content with the statement of this first great principle--that a Greek,
as such, never expresses momentary passion.

[Illustration: XV.

HERA OF ARGOS.

ZEUS OF SYRACUSE.]

[Illustration: XVI.

DEMETER OF MESSENE.

HERA OF CNOSSUS.]

[Illustration: XVII.

ATHENA OF THURIUM.

SIREN LIGEIA OF TERINA.]