ever with the
exigency of circumstances. Over the short and solid shafts of Paestum,
it became flat and almost horizontal; they needed there an expression
of emphatic and sudden grace; they meet the _abacus_ with a moulding of
passionate energy, in which the soft undulations of Beauty are nearly
lost in a masculine earnestness of purpose. On the other hand, the more
slender and feminine columns of the Parthenon glide into the _echinus_
with gentleness and sweetness, crown themselves with a diadem of
chastity, as if it grew there by Fate, preordained from the base of the
shaft, like a flower from the root. It was created as with "the Dorian
mood of soft recorders." Between these two extremes there is an
infinity of change, everywhere modified and governed by "the study of
imagination."

The same characteristics of nervous grace and severe intellectual
restraint are found wherever the true Greek artist put his hand and his
heart to work. Every moulding bears the impress of utter refinement, and
modulates the light which falls upon it with exquisite and harmonious
gradations of shade. The sun, as it touches it, makes visible music
there, as if it were the harp of Memnon,--now giving us a shadow-line
sharp, strict, and defined, now drawing along a beam of quick and
dazzling light, and now dying away softly and insensibly into cool shade
again. All the phenomena of reflected lights, half lights, and broken
lights are brought in and attuned to the great daedal melody of
the edifice. The antiquities of Attica afford nothing frivolous or
capricious or merely fanciful, no playful extravagances or wanton
meanderings of line; but ever loyal to the purity of a high Ideal, they
present to us, even from their ruins, a wonderful and very evident Unity
of expression, pervading and governing every possible mood and manner of
thought. No phase of Art that ever existed gives us a line so very human
and simple in itself as this Greek type, and so pliable to all the uses
of monumental language. If this type were a mere mathematical type, its
applicability to the expression of human emotions would be limited to a
formalism absolutely fatal to the freedom of thought in Art. But because
it has its birth in intense Love, in refined appreciation of all the
movements of Life and all the utterances of Creation, because it is the
humanized essence of these motions and developments, it becomes thus an
inestimable Unity, containing within itself the