oy, you would
have seen how he was held by the same chain. And you cannot but wonder
why, this being the melancholy temper of the great Greek or naturalistic
school, I should have called it the school of light. I call it so
because it is through its intense love of light that the darkness
becomes apparent to it, and through its intense love of truth and form
that all mystery becomes attractive to it. And when, having learned
these things, it is joined to the school of colour, you have the
perfect, though always, as I will show you, pensive, art of Titian and
his followers.

151. But remember, its first development, and all its final power,
depend on Greek sorrow, and Greek religion.

The school of light is founded in the Doric worship of Apollo, and the
Ionic worship of Athena, as the spirits of life in the light, and of
life in the air, opposed each to their own contrary deity of
death--Apollo to the Python, Athena to the Gorgon--Apollo as life in
light, to the earth spirit of corruption in darkness;--Athena, as life
by motion, to the Gorgon spirit of death by pause, freezing or turning
to stone: both of the great divinities taking their glory from the evil
they have conquered; both of them, when angry, taking to men the form of
the evil which is their opposite--Apollo slaying by poisoned arrow, by
pestilence; Athena by cold, the black aegis on her breast.

These are the definite and direct expressions of the Greek thoughts
respecting death and life. But underlying both these, and far more
mysterious, dreadful, and yet beautiful, there is the Greek conception
of _spiritual_ darkness; of the anger of fate, whether foredoomed or
avenging; the root and theme of all Greek tragedy; the anger of the
Erinnyes, and Demeter Erinnys, compared to which the anger either of
Apollo or Athena is temporary and partial:--and also, while Apollo or
Athena only slay, the power of Demeter and the Eumenides is over the
whole life; so that in the stories of Bellerophon, of Hippolytus, of
Orestes, of Oedipus, you have an incomparably deeper shadow than any
that was possible to the thought of later ages, when the hope of the
Resurrection had become definite. And if you keep this in mind, you will
find every name and legend of the oldest history become full of meaning
to you. All the mythic accounts of Greek sculpture begin in the legends
of the family of Tantalus. The main one is the making of the ivory
shoulder of Pelops after Demeter ha