k runner, there the
wrestler. The habit of each in life produces a bodily form which if it
exists implies that habit; the reality here results from the operation
of physical laws and can be physically rendered; the type is
constituted of permanent physical fact. There are habits of the soul
which similarly impress an outward stamp upon the face and form so
certainly that expression, attitude, and shape authentically declare the
presence of the soul that so reveals itself. In the Phidian Zeus was all
awe; in the Praxitelean Hermes all grace, sweetness, tenderness; in the
Pallas Athene of her people who carved or minted her image in statue,
bas-relief, or coin, was all serene and grave wisdom; or, in the glowing
and chastened colours of the later artistic time, the Virgin mother
shines out, in Fra Angelico all adoration, in Bellini all beatitude, in
Raphael all motherhood. The sculptor and the painter are restricted to
the bodily signs of the soul's presence; but the poet passes into
another and wider range of interpretation. He finds the soul stamped in
its characteristic moods, words, actions. He then creates for the mind's
eye Achilles, Aeneas, Arthur; and in his verse are beheld their spirits
rather than their bodies.

These several sorts of types make an ascending series from the
predominantly physical to the predominantly spiritual; but, from the
present point of view, the arts which embody their creations in a
material form should not be opposed to literature which employs the
least interrelation of sensation, as if the former had a physical and
the last a spiritual content. All types have one common element, they
express personality; they have for the mind a spiritual meaning, what
they contain of human character; they differ here only in fulness of
representation. The most purely physical types imply spiritual
qualities, choice, will, command,--all the life which was a condition
precedent to the bodily perfection that was its flower; and, though the
eye rests on the beautiful form, it may discern through it the human
soul of the athlete as in life; and, moreover, the figure may be
represented in some significant act, or mood even, but this last is
rare. The more plainly spiritual types, physically rendered, are most
often shown in some such mood or act expressive in itself of the soul
whose habit lives in the form it has moulded. It is not that the plastic
and pictorial arts cannot spiritualize the stone and the