be said that the English never had an age of the Phidian kind; in European culture that is to be sought, if at all, in mediæval art. The Praxitelean age, however, was reproduced in essence in the first generation of our romantic period. A certain pathos, felt in view both of the world and of one's self, is perhaps its dominant quality, and with it go a sophistication, a self-consciousness, a reflectiveness, a slight yet not complete abstraction of the spirit from the object before it, illustrated by the expression of the head of Hermes in relation to the infant Dionysus on his arm. It is the mood of one whose spontaneous joy has been disturbed forever by thought. In such work one sees that the objective character of art, as it was in Phidias, is yielding to a new impulse; that the hold of the imagination on the divine and the eternal is slowly relaxing. At last, idealism went out in Greece, and, either in the shape of the portrait statues, or of such sculptures as those of Pergamon, realism came in to be the be-all and also the end-all of art.
Why was it, one asks, that the plastic nature of the Greeks did not preserve them, if the image-making faculty did in fact count
