The result was that when he wished to represent a youth or a maiden, or even to make a portrait of a statesman, he tended to reproduce the type with certain personal modifications rather than to produce a portrait in the modern sense.

But when he came to making statues of the gods, his freedom of hand was of incalculable service to him in giving a bodily form to his imagination; it enabled him to create after nature, without being dependent on an individual model or having to fall back upon such vague and generalised forms as are sometimes associated with an academic or classical art; for it was his own trained observation and memory that he called into play, not a mere mechanical system he had learnt from his predecessors.

In the more individualistic art of the fourth century, as we shall see, it is probable that the personal model was of more importance, especially in female statues; but even then it was still modified by the tradition and style which makes a harmonious whole, not only of each Greek statue, but of the development of Hellenic sculpture generally.

In typical examples of the sculpture of the fourth century we find not only this harmony and restraint, and the beauty of bodily form in figure as well as in features which is generally recognised as characteristic of Greek art, but also an expression of character and individuality, of mood and temperament, of pathos and passion, which is none the less intense and real because it is expressed by means of the perfection of physical form, not as wasting or deforming it.
It may be asked how the invisible, mental, or spiritual qualities can be portrayed in visible form, especially if that visible form be not overmuch distorted or modified, and in a more general way, how the expression of a statue, and the impression it produces, can be analysed or discussed.

For examples of the way this can be done, the reader may be referred once more to Brunn's _Gotteridealen_, a study of a few selected representations of Greek gods in which the character of each is brought out by a subtle and discriminating analysis of the visible forms.