a kind of intoxication. From this intoxication Winckelmann is free; he fingers those pagan marbles with unsinged hands, with no sense of shame or loss. That is to deal with the sensuous side of art in the pagan manner.
The longer we contemplate that Hellenic ideal in which man is at unity with himself, with his physical nature, with the outward world, the more we may be inclined to regret that he should ever have passed beyond it, to contend for a perfection that makes the blood turbid, and frets the flesh, and discredits the actual world about us. But if he was to be saved from the ennui which ever attaches itself to realisation, even the realisation of perfection, it was necessary that a conflict should come, that some sharper note should grieve the perfect harmony, in order that the spirit, chafed by it, might beat out at last a broader and profounder music. In Greek tragedy this conflict has begun; man finds himself face to face with rival claims. Greek tragedy shows how such a conflict may be treated with serenity, how the evolution of it may be a spectacle of the dignity, not of the impotence, of the human spirit. But it is not only in tragedy that the Greek spirit showed itself capable of thus winning joy out of matter in itself full of discouragements. Theocritus too, often strikes a note of romantic sadness. But what a
