  First, the divine had to be understood to be freely self-determining spirit, to be divine subjectivity (not just an abstract power such as the Light). Second, the divine had to be understood to take the form of individuals who could be portrayed in sculpture and drama. The divine had to be conceived, in other words, not as sublimely transcendent, but as spirituality that is embodied in many different ways. The beauty of Greek art thus presupposed Greek polytheism. Third, the proper shape of free spirit had to be recognized to be the human body, not that of an animal. Hindu and Egyptian gods were often portrayed as a fusion of human and animal forms; by contrast, the principal Greek gods were depicted in ideal human form. Hegel notes that Zeus would sometimes take on animal form, for example when he was engaged in seduction; but he sees Zeus’ transformation of himself into a bull for the purpose of seduction as a lingering echo of Egyptian mythology in the Greek world (see PKÄ, 119–20, in which Hegel confuses Io, who in another story was herself changed into a white cow by Zeus to protect her from the jealous Hera, with Europa, who was the object of Zeus’ love in the story Hegel has in mind).