the whole
affair, rose to such a pitch that in the end the charlatanry of the
thing was obvious to everybody; and when, in consequence of certain
revelations, the protection that had been given it by the upper classes
was withdrawn, it was talked about by everybody. This most miserable of
all the philosophies that have ever existed dragged down with it into
the abyss of discredit the systems of Fichte and Schelling, which had
preceded it. So that the absolute philosophical futility of the first
half of the century following upon Kant in Germany is obvious; and yet
the Germans boast of their gift for philosophy compared with foreigners,
especially since an English writer, with malicious irony, called them _a
nation of thinkers_.

Those who want an example of the general scheme of epicycles taken from
the history of art need only look at the School of Sculpture which
flourished in the last century under Bernini, and especially at its
further cultivation in France. This school represented commonplace
nature instead of antique beauty, and the manners of a French minuet
instead of antique simplicity and grace. It became bankrupt when, under
Winckelmann's direction, a return was made to the antique school.
Another example is supplied in the painting belonging to the first
quarter of this century. Art was regarded merely as a means and
instrument of mediaeval religious feeling, and consequently
ecclesiastical subjects alone were chosen for its themes. These,
however, were treated by painters who were wanting in earnestness of
faith, and in their delusion they took for examples Francesco Francia,
Pietro Perugino, Angelico da Fiesole, and others like them, even holding
them in greater esteem than the truly great masters who followed. In
view of this error, and because in poetry an analogous effort had at the
same time met with favour, Goethe wrote his parable _Pfaffenspiel_. This
school, reputedly capricious, became bankrupt, and was followed by a
return to nature, which made itself known in _genre_ pictures and scenes
of life of every description, even though it strayed sometimes into
vulgarity.

It is the same with the progress of the human mind in the _history of
literature_, which is for the most part like the catalogue of a cabinet
of deformities; the spirit in which they keep the longest is pigskin. We
do not need to look there for the few who have been born shapely; they
are still alive, and we come across them in ever