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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 the perfect life, it was necessary that a conflict should come, that some sharper note should grieve the existing harmony, and the spirit chafed by it beat out at last only a larger 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 bringing joy out of matter in itself full of discouragements. Theocritus too strikes often a note of romantic sadness. But what a blithe and steady poise, above these discouragements, in a clear and sunny stratum of the air!

Into this stage of Greek achievement Winckelmann did not enter. Supreme as he is where his true interest lay, his insight into the typical unity and repose of the highest sort of sculpture seems to have involved limitation in another direction. His conception of art excludes that bolder type of it which deals confidently and serenely with life, conflict, evil. Living in a world of exquisite but abstract and colourless form, he could hardly have conceived of the subtle and penetrative, yet somewhat grotesque art of the modern world. What would he have thought of Gilliatt, in Victor Hugo’s Travailleurs de la Mer, or of the bleeding mouth of Fantine in the first part of Les Miserables, penetrated as those books are with a sense of beauty, as lively and transparent as that of a Greek? Nay, a sort of preparation for the romantic temper is noticeable even within the limits of the Greek ideal itself, which for his part Winckelmann failed to see. For Greek religion has not merely its mournful mysteries of Adonis, of Hyacinthus, of Demeter, but it is conscious also of the fall of earlier divine dynasties. Hyperion gives way to Apollo, Oceanus to Poseidon. Around the feet of that tranquil Olympian family still crowd the weary shadows of an earlier, more formless, divine world. The placid minds even of Olympian gods are troubled with thoughts of a limit to duration, of inevitable decay, of dispossession. Again, the supreme and colourless abstraction of those divine forms, which is the secret of their repose, is also a premonition of the fleshless, consumptive refinements of the pale, medieval artists. That high indifference to the outward, that impassivity, has already a touch of the corpse in it: we see already Angelico and the Master of the Passion in the artistic future. The suppression of the sensuous, the shutting of the door upon it, the ascetic interest, may be even now foreseen. Those abstracted gods, “ready to melt out their essence fine into the winds,” who can fold up their flesh as a garment, and still remain themselves, seem already to feel that bleak air, in which like Helen of Troy, they wander as the spectres of the middle age.

Gradually, as the world came into the church, an artistic interest, native in the human soul, reasserted its claims. But Christian art was still dependent on pagan examples, building the shafts of pagan temples into its churches, perpetuating the form of the basilica, in later times working the disused amphitheatres as stone quarries. The sensuous expression of ideas which unreservedly discredit the world of sense, was the delicate problem which Christian art had before it. If we think of medieval painting, as it ranges from the early German schools, still with something of the air of the charnel-house about them, to the clear loveliness of Perugino, we shall see how that problem was solved. In the very “worship of sorrow” the native blitheness of art asserted itself. The religious spirit, as Hegel says, “smiled through its tears.” So perfectly did the young Raphael infuse that Heiterkeit, that pagan blitheness, into religious works, that his picture of Saint Agatha at Bologna became to Goethe a step in the evolution of Iphigenie.*[6] But in proportion as the gift of smiling was found once more, there came also an aspiration towards that lost antique art, some relics of which Christian art had buried in itself, ready to work wonders when their day came.