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xlvi incongruous, and exhibits that tendency to symbolism which subsequently blossomed out into the colossal systems of India and Eleusis.

The transference of human faith and worship from vague nature-powers, dimly recognized as personal agencies, to veritable personalities, endowed with consciousness and will, and distinguished by diversity of attribute, moral and intellectual, constitutes, as we have seen, the second great stage in the history of human progress. This emancipation of the divine idea from its association with natural phenomena would lead to the recognition of the human form as affording the sole adequate medium for the manifestation of spiritual existence, a discovery which lies at the root of classic art, and inaugurates the second epoch in the artistic development of humanity. We have only to pass from the Hall of Egyptian Antiquities, in the British Museum, to the gallery of the Elgin Marbles, in order to appreciate the importance of the transition.

The Greeks thus realizing the idea that their divinities manifested themselves through the human form, and striving to glorify the temple hallowed by the presence of Deity, were led to discover the essential characteristics of the human organism as a vehicle of superior intelligence. In reproducing their impressions through the medium of art, they have given birth to models of ideal beauty, which show us how fair is the tabernacle of the immortal soul, when the lower propensities are subjected to higher needs. They detected the Divine idea with reference to the human form, and accordingly,