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[Footnote 5:
Transliteration: mousike. Liddell and Scott definition: “any art over which the Muses presided, esp. music or lyric poetry set and sung to music….” ]

Now, this predominance of youth, of the youthful form, in art, of bodily gymnastic promoting natural advantages to the utmost, of the physical perfection developed thereby, is a sign that essential mastery has been achieved by the artist–the power, that is to say, of a full and free realisation. For such youth, in its very essence, is a matter properly within the limits of the visible, the empirical, world; and in the presentment of it there will be no place for symbolic hint, none of that reliance on the helpful imagination of the spectator, the legitimate scope of which is a large one, when art is dealing with religious objects, with what in the fulness of its own nature is not really expressible at all. In any passable representation of the Greek discobolus, as in any passable representation of an English cricketer, there can be no successful evasion of the natural difficulties of the thing to be done–the difficulties of competing with nature itself, or its maker, in that marvellous combination of motion and rest, of inward mechanism with the so smoothly finished surface and outline–finished ad unguem– which enfold it.

Of the gradual development of such mastery of natural detail, a veritable counterfeit of nature, the veritable rhythmus of the runner, for example–twinkling heel and ivory shoulder–we have hints and traces in the historians of art. One had attained the very turn and texture of the crisp locks, another the very feel of the tense nerve and full-flushed vein, while with another you saw the bosom of Ladas expand, the lips part, as if for a last breath ere he reached the goal. It was like a child finding little by little the use of its limbs, the testimony of its senses, at a definite moment. With all its poetic impulse, it is an age clearly of faithful observation, of what we call realism, alike in its iconic and heroic work; alike in portraiture, that is to say, and in the presentment of divine or abstract types. Its workmen are close students now of the living form as such; aim with success at an ever larger and more various expression of its details; or replace a conventional statement of them by a real and lively one. That it was thus is attested indirectly by the fact that they busied themselves, seemingly by way of a tour de force, and with no essential interest in such subject, alien as it was from the pride of health which is characteristic of the gymnastic life, with the expression of physical pain, in Philoctetes, for instance. The adroit, the swift, the strong, in full and free exercise of their gifts, to the delight of others and of themselves, though their sculptural record has for the most part perished, are specified in ancient literary notices as the sculptor’s favourite subjects, repeated, remodelled, over and over again, for the adornment of the actual scene of athletic success, or the market-place at home of the distant Northern or Sicilian town whence the prizeman had come.–A countless series of popular illustrations to Pindar’s Odes! And if art was still to minister to the religious sense, it could only be by clothing celestial spirits also as nearly as possible in the bodily semblance of the various athletic combatants, whose patrons respectively they were supposed to be.

The age to which we are come in the story of Greek art presents to us indeed only a chapter of scattered fragments, of names that are little more, with but surmise of their original significance, and mere reasonings as to the sort of art that may have occupied what are really empty spaces. Two names, however, connect themselves gloriously with certain extant works of art; copies, it is true, at various removes, yet copies of what is still found delightful through them, and by copyists who for the most part were themselves masters. Through the variations of the copyist, the restorer, the mere imitator, these works are reducible to two famous original types–the Discobolus or quoit-player, of Myron, the beau ideal (we may use that term for once justly) of athletic motion; and the Diadumenus of Polycleitus, as, binding the fillet or crown of victory upon his head, he presents the beau ideal of athletic repose, and almost begins to think.