* Compare above, sec. 101.
Also observe, there is an entire masterhood of its business up to the
required point. A Greek does not reach after other people's strength,
nor outreach his own. He never tries to paint before he can draw; he
never tries to lay on flesh where there are no bones; and he never
expects to find the bones of anything in his inner consciousness. Those
are his first merits--sincere and innocent purpose, strong common-sense
and principle, and all the strength that follows on that strength.
170. But, secondly, Greek art is always exemplary in disposition of
masses, which is a thing that in modern days students rarely look for,
artists not enough, and the public never. But, whatever else Greek work
may fail of, you may always be sure its masses are well placed, and their
placing has been the object of the most subtle care. Look, for instance,
at the inscription in front of this Hercules of the name of the town--
Camarina. You can't read it, even though you may know Greek, without
some pains; for the sculptor knew well enough that it mattered very
little whether you read it or not, for the Camarina Hercules could tell
his own story; but what did above all things matter was, that no K or A
or M should come in a wrong place with respect to the outline of the
head, and divert the eye from it, or spoil any of its lines.
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