and _wrought_
out Hera; Myron was of all most _praised_, because he did best what
pleased the vulgar; and Praxiteles, the most _wondered at_ or admired,
because he bestowed utmost exquisiteness of beauty.

38. I am sorry not to go on with the dream; the more refined lady, as
you may remember, is liberal or gentlemanly Education, and prevails at
last; so that Lucian becomes an author instead of a sculptor, I think to
his own regret, though to our present benefit. One more passage of his I
must refer you to, as illustrative of the point before us; the
description of the temple of the Syrian Hieropolis, where he explains
the absence of the images of the sun and moon. "In the temple itself,"
he says, "on the left hand as one goes in, there is set first the throne
of the sun; but no form of him is thereon, for of these two powers
alone, the sun and the moon, they show no carved images. And I also
learned why this is their law, for they say that it is permissible,
indeed, to make of the other gods, graven images, since the forms of
them are not visible to all men. But Helios and Selenaia are everywhere
clear-bright, and all men behold them; what need is there therefore for
sculptured work of these, who appear in the air?"

39. This, then, is the second instinct necessary to sculpture; the
desire for the manifestation, description, and companionship of unknown
powers; and for possession of a bodily substance--the "bronze
Strasbourg," which you can embrace, and hang immortelles on the head
of--instead of an abstract idea. But if you get nothing more in the
depth of the national mind than these two feelings, the mimetic and
idolizing instincts, there may be still no progress possible for the
arts except in delicacy of manipulation and accumulative caprice of
design. You must have not only the idolizing instinct, but an [Greek:
ethos] which chooses the right thing to idolize! Else, you will get
states of art like those in China or India, non-progressive, and in
great part diseased and frightful, being wrought under the influence of
foolish terror, or foolish admiration. So that a third condition,
completing and confirming both the others, must exist in order to the
development of the creative power.

40. This third condition is that the heart of the nation shall be set on
the discovery of just or equal law, and shall be from day to day
developing that law more perfectly. The Greek school of sculpture is
formed during, and in