strusest speculations, and at the threshold of one of the greatest generalizations of the human intellect, fell back upon the image-forming faculty, and insisted on particularizing the universal by means of a mystery or fiction of thought, is a crowning proof of the pervasiveness and inner mastery of the plastic spirit in the culture of his civilization.
This trait of the Greeks has been dwelt on, in the present instance, less for itself than for its bearing on the idealism of the art of Phidias, of which the marbles of the Parthenon are the great examples. Of course Dr. Waldstein, who knows the value of this supreme achievement of the idealistic temperament in man, is himself an idealist, and when he has occasion to analyze the monuments treats at more or less length of the theory of idealism. He distinguishes at once two kinds of physical representation, the portrait and the type, and affirms an analogous difference in representations of the spirit that animates the stone, the man as he is, and the man as he ought to be. He observes, too, that the Greeks were fortunately supplied with subjects of sculpture in which both the physical and spiritual perfection of man were proper elements, and, in-
