advantage from it, and in our
own case we cannot altogether put aside the question concerning the
reception we are likely to meet with.

Everything is subject to constant change, and since certain things
cannot exist side by side, they displace one another This is true of
kinds of knowledge, of certain methods of instruction, of methods of
representation, and of maxims. The aims of men remain nearly always
the same: they still desire to become good artists or poets as they
did centuries ago; but the means through which the goal is reached are
not clear to everybody, and why should it be denied that nothing
would be more agreeable than to be able to carry out joyfully a great
design?

Naturally the public has a great influence upon Art, since in
return for its approval and its money it demands work that may give
satisfaction and immediate enjoyment; and the artist will for the
most part be glad to adapt himself to it, for he also is a part of the
public, he has received his training during the same years, he feels
the same needs, strives in the same direction, and thus moves along
happily with the multitude which supports him and which is invigorated
by him. In this matter we see whole nations and epochs delighted by
their artists, just as the artist sees himself reflected in his nation
and his epoch, without either having even the slightest suspicion
that their path might not be right, that their taste might be at least
one-sided, their art on the decline, and their progress in the wrong
direction.

Instead of proceeding to further generalities on this point, we shall
make a remark which refers particularly to plastic art.

For the German artist, in fact for modern and northern artists in
general, it is difficult--indeed almost impossible--to make the
transition from formless matter to form, and to maintain himself at
that point, even should he succeed in reaching it. Let every artist
who has lived for a time in Italy ask himself whether the presence of
the best works of ancient and modern art have not aroused in him
the incessant endeavour to study and imitate the human figure in its
proportions, forms, and characteristics, to apply all diligence and
care in the execution in order to approach those artistic works, so
entirely complete in themselves, in order to produce a work which, in
gratifying the sense, exalts the spirit to the greatest heights. Let
him also admit, however, that after his return he must gradu