[400] thought. You remember I showed you some archaic gods and goddesses^a in which the divine power, in the mystical smile which looks not as an object in time^b and space^c but an "I" which looks at "you," encounters you, at the end of the temple; you must GO to it, you cannot go around it. You must kneel down before these gods and goddesses, because they represent the presence of ultimate reality^d; and that was the reason for their religious power over the minds of the people, if they took it seriously. Then came the classical period, which is analogous to what I said about Giotto^e and some

early Renaissance^f people, in which the substance was still present but was already reduced into an idealized human figure around which you can go. But still some of the divine majesty was left, in the classical period. Then came the naturalistic period, in which wonderfully naturalistic movements were given to the human bodies, even to those of the gods. But they were in no way divine any more. Aphrodite was a beautiful woman, and Apollo a beautiful lad--that's all. And you could enjoy their movements, their tensions, their beauty, you could study gymnastics from them [little laughter], but you couldn’t do that from the goddesses and gods of the past. So we have a similar thing in the Greek development, and it is very interesting to see how in the religious period which starts about 100 years before Christ and goes on for about 500 years, not only in Christianity^g, in the paintings of the caves, but also in the pagan^h world, on the sculptures of the sarcophagi, [where] you find a return to the non-naturalistic archaism, archaic style, which now, since it is a repetition, could be called archaistic in contrast to archaic