Summary: of sages who beheld them in trance rather than to the invention of individual artists. This is well exemplified in the statues of Buddha, Vishnu, and other deities, who often stand in the em- brace of their consorts: the image thus symbolizes the union of the divine principles, not merely the particular physical embrace of any given day. This symbolism is not invented by the artist, but is transmitted to him from tradition, in which the symbol has already be- come a dogma. The great virtue of Indian art is not in the fact that it is religious, perhaps not even in the fact that it is beautiful, but that it is impersonally divine. The un- named divinity, reappearing through the symbols as through a mist, is stupendous; the thought creative, not repetitive; and yet it is not purely passive, but rather capable of awakening ideas in the mind of the beholder. This is why Hindu art is so much more moving than the skilful mo- tifs of a Greek vase or the skilful loveliness of a Bri- tish screen. It is true art because it aids the mind to awaken to clear intuitions of the nature of reality, ai- ming at liberation, not at mere enjoyment. Here, in brief, lies the thousandfold difference betweencrafts- manship and art, betweenoils and apples, between painting and pictures.