worshippers everything that could inspire awe, wonder, and goodness, as
well as power. No fear was blended with admiration, since his favor
could be won by the magnificent rites and ceremonies which were
instituted in his honor.

Clarke alludes to the sculptured Apollo Belvedere as giving a still more
elevated idea of the sun-god than the poets themselves,--a figure
expressive of the highest thoughts of the Hellenic mind,--and quotes
Milman in support of his admiration:--

"All, all divine! no struggling muscle glows,
Through heaving vein no mantling life-blood flows;
But, animate with deity alone,
In deathless glory lives the breathing stone."

If a Christian poet can see divinity in the chiselled stone, why should
we wonder at the worship of art by the pagan Greeks? The same could be
said of the statues of Artemis, of Pallas-Athene, of Aphrodite, and
other "divine" productions of Grecian artists, since they represented
the highest ideal the world has seen of beauty, grace, loveliness, and
majesty, which the Greeks adored. Hence, though the statues of the gods
are in human shape, it was not men that the Greeks worshipped, but those
qualities of mind and those forms of beauty to which the cultivated
intellect instinctively gave the highest praise. No one can object to
this boundless admiration which the Greeks had for art in its highest
forms, in so far as that admiration became worship. It was the divorce
of art from morals which called out the indignation and censure of the
Christian fathers, and even undermined the religion of philosophers so
far as it had been directed to the worship of the popular deities, which
were simply creations of poets and artists.