more slippery than the anointed wrestlers of the Greek games, Then the basin comes again into play, and we glide once more musically through the scale of temperature.
The brown sculptor has now nearly completed his task. The figure of clay which entered the bath is transformed into polished marble. He turns the body from side to side, and lifts the limbs to see whether the workmanship is adequate to his conception. His satisfied gaze proclaims his success. A skilful bath-attendant has a certain æsthetic pleasure in his occupation. The bodies he polishes become to some extent his own workmanship, and he feels responsible for their symmetry or deformity. He experiences a degree of triumph in contemplating a beautiful form, which has grown more airily light and beautiful under his hands. He is a great connoisseur of bodies, and could pick you out the finest specimens with as ready an eye as an artist.
I envy those old Greek bathers, into whose hands were delivered Pericles, and Alcibiades, and the perfect models of Phidias. They had daily before their eyes the highest types of Beauty which the world has ever produced; for of all things that are beautiful, the human body is the crown.-Now, since the delusion of artists has been overthrown, and we know that Grecian Art is but the simple reflex of Nature — that the old masterpieces of sculpture were no miraculous embodiments of a beau ideal, but copies of living forms — we must admit that in no other age of the world has the physical Man been so perfectly developed. The nearest approach I have ever seen to the symmetry of ancient sculpture was among the Arab tribes of Ethiopia. Our Saxon race can supply the athlete, but not the Apollo.
