ignity of desiring that it may be
so,) with incredulous disdain.

104. But that you _are_ yourselves capable of that disdain and dismay;
that you are ashamed of having been apes, if you ever were so; that you
acknowledge, instinctively, a relation of better and worse, and a law
respecting what is noble and base, which makes it no question to you
that the man is worthier than the baboon,--_this_ is a fact of infinite
significance. This law of preference in your hearts is the true essence
of your being, and the consciousness of that law is a more positive
existence than any dependent on the coherence or forms of matter.

105. Now, but a few words more of mythology, and I have done. Remember
that Athena holds the weaver's shuttle, not merely as an instrument of
_texture_, but as an instrument of _picture_; the ideas of clothing, and
of the warmth of life, being thus inseparably connected with those of
graphic beauty, and the brightness of life. I have told you that no art
could be recovered among us without perfectness in dress, nor without
the elementary graphic art of women, in divers colors of needlework.
There has been no nation of any art-energy, but has strenuously occupied
and interested itself in this household picturing, from the web of
Penelope to the tapestry of Queen Matilda, and the meshes of Arras and
Gobelins.

106. We should then naturally ask what kind of embroidery Athena put on
her own robe; "[Greek: peplon heanon, poikilon, hon r' aute poiesato kai
kame chersin]."

The subject of that [Greek: poikilia] of hers, as you know, was the war
of the giants and gods. Now the real name of these giants, remember, is
that used by Hesiod, '[Greek: pelogonoi],' 'mud-begotten,' and the
meaning of the contest between these and Zeus, [Greek: pelogonon
elater], is, again, the inspiration of life into the clay, by the
goddess of breath; and the actual confusion going on visibly before you,
daily, of the earth, heaping itself into cumbrous war with the powers
above it.

107. Thus, briefly, the entire material of Art, under Athena's hand, is
the contest of life with clay; and all my task in explaining to you the
early thought of both the Athenian and Tuscan schools will only be the
tracing of this battle of the giants into its full heroic form, when,
not in tapestry only, but in sculpture, and on the portal of the Temple
of Delphi itself, you have the "[Greek: klonos en teichesi lainoisi
giganton]," and their defeat