The subject of that ροικιλια of hers, as you know, was the war of the giants and gods. Now the real name of these giants, remember, is that used by Hesiod, "πηλοχονοι," "mud-begotten," and the meaning of the contest between these and Zeus, πηλογονων ελατηρ, is, again, the inspiration of life into the clay, by the goddess of breath; and the actual confusion going on visibly before you, daily, of the earth, heaping itself into cumbrous war with the powers above it.
107. Thus briefly, the entire material of Art, under Athena's hand, is the contest of life with clay; and all my task in explaining to you the early thought of both the Athenian and Tuscan schools will only be the tracing of this battle of the giants into its full heroic form, when, not in tapestry only—but in sculpture—and on the portal of the Temple of Delphi itself, you have the "κλονος εν τειχεσι λαινοισι γιγαντων," and their defeat hailed by the passionate cry of delight from the Athenian maids, beholding Pallas in her full power, "κλονος εν τειχεσι λαινοισι γιγαντω Παλλαδ' εμαν θεον," my own goddess. All our work, I repeat, will be nothing but the inquiry into the development of this the subject, and the pressing fully home the question of Plato about that embroidery—"And think you that there is verily war with each other among the Gods? and dreadful enmities and battle, such as the poets have told, and such as our painters set forth in graven scripture, to adorn all our sacred rites and holy places; yes, and in the great Panathenaea themselves, the Peplus, full of such wild picturing, is carried up into the Acropolis—shall we say that these things are true, oh Euthuphron, right-minded friend?"
108. Yes, we say, and know, that these things are true; and true for ever: battles of the gods, not among themselves, but against the earth-giants. Battle prevailing age by age, in nobler life and lovelier imagery; creation, which no theory of mechanism, no definition of force, can explain, the adoption and completing of individual form by individual animation, breathed out of the lips of the Father of Spirits. And to recognize the presence in every knitted shape of dust, by which it lives and moves and has its being—to recognize it, revere, and show it forth, is to be our eternal Idolatry.
"Thou shalt not bow down to them, nor worship them."
"Assuredly no," we answered once, in our pride; and through porch and aisle, broke down the carved work thereof, with axes and hammers.
Who would have thought the day so near when we should bow down to worship, not the creatures, but their atoms,—not the forces that form, but those that dissolve them? Trust me, gentlemen, the command which is stringent against adoration of brutality, is stringent no less against adoration of chaos, nor is faith in an image fallen from heaven to be reformed by a faith only in the phenomenon of decadence. We have ceased from the making of monsters to be appeased by sacrifice;—it is well,—if indeed we have also ceased from making them in our thoughts. We have learned to distrust the adorning of fair phantasms, to which we once sought for succour;—it is well, if we learn to distrust also the adorning of those to which we seek, for temptation; but the verity of gains like these can only be known by our confession of the divine seal of strength and beauty upon the tempered frame, and honour in the fervent heart, by which, increasing visibly, may yet be manifested to us the holy presence, and the approving love, of the Loving God, who visits the iniquities of the Fathers upon the Children, unto the third and fourth generation of them that hate Him, and shows mercy unto thousands in them that love Him, and keep His Commandments.
FOOTNOTES:
[118] I shall be obliged in future lectures, as hitherto in my other writings, to use the terms, Idolatry and Imagination in a more comprehensive sense; but here I use them for convenience sake, limitedly, to avoid the continual occurrence of the terms, noble and ignoble, or false and true, with reference to modes of conception.
[119] "And in sum, he himself (Prometheus) was the master-maker, and Athena worked together with him, breathing into the clay, and caused the moulded things to have soul (psyche) in them."—Lucian, Prometheus.
[120] His relations with the two great Titans, Themis and Mnemosyne, belong to another group of myths. The father of Athena is the lower and nearer physical Zeus, from whom Metis, the mother of Athena, long withdraws and disguises herself.