this characteristic impress from the people, again reacted to preserve and even further inflame that martial spirit. And there is no inconsistency between this view of the subject and that which was presented in the third chapter.
It was said at the outset that we Goths are a chaste race, and abhor the loathsome nudity of Greek art. We were a chaste people before our fathers came under the influence of Christianity. The Elder Edda, which is the grand depository of the Norse mythology, may be searched through and through, and there will not be found a single nude myth, not an impersonation of any kind that can be considered an outrage upon virtue or a violation of the laws of propriety; and this feature of the Odinic religion deserves to be urged as an important reason why our painters and sculptors should look at home for something wherewith to employ their talent, before they go abroad; look in our own ancient Gothic history, before going to ancient Greece.
But the artist who is going to chisel out an Odin, a Thor, a Balder, a Nanna, or a Loke, must not be a mere imitator. He must possess a creative mind. He must not go to work at a piece of Norse art with his imagination full of Greek myths, much less must he attempt to apply Greek principles to a piece of Gothic art. He will find the Norse chisel a somewhat more ponderous weapon to swing; and you cannot turn as rapidly with a railroad car as you can with a French fiacre or American gig. To try to chisel out the gods of our forefathers after South European patterns would be like attempting to write English with the mind full of Latin syntax. Hence we repeat, that we do not want an imitator, but an original genius. Greek mythology has been presented so many times, and so well,
