An artist who produces valuable work is not always able to give an account of his own or others' performances.

499

We know of no world except in relation to mankind; and we wish for no Art that does not bear the mark of this relation.

500

Higher aims are in themselves more valuable, even if unfulfilled, than lower ones quite attained.

501

Blunt navety, stubborn vigour, scrupulous observance of rule, and any other epithets which may apply to older German Art, are a part of every earlier and simpler artistic method. The older Venetians, Florentines, and others had it all too.

502

Because Albrecht Durer, with his incomparable talent, could never rise to the idea of the symmetry of beauty, or even to the thought of a fitting conformity to the object in view, are we never to spurn the ground!

503

Albrecht Durer had the advantage of a very profound realistic perception, an affectionate human sympathy with all present conditions.

He was kept back by a gloomy phantasy, devoid both of form and foundation.

504

It would be interesting to show how Martin Schon stands near him, and how the merits of German Art were restricted to these two; and useful also to show that it was not evening every day.

505

In every Italian school the b.u.t.terfly breaks loose from the chrysalis.

506

After Klopstock released us from rhyme, and Voss gave us models of prose, are we to make doggerel again like Hans Sachs?

507

Let us be many-sided! Turnips are good, but they are best mixed with chestnuts. And these two n.o.ble products of the earth grow far apart.

508

In every kind of Art there is a degree of excellence which may be reached, so to speak, by the mere use of one's own natural talents. But at the same time it is impossible to go beyond that point, unless Art comes to one's aid.

509

In the presence of Nature even moderate talent is always possessed of insight; hence drawings from Nature that are at all carefully done always give pleasure.

510

To make many sketches issue at last in a complete work is something that not even the best artists always achieve.

511

In the sphere of true Art there is no preparatory school, but there is a way of preparation; and the best preparation is the interest of the most insignificant pupil in the work of the master. Colour-grinders have often made excellent painters.

512

If an artist grasps Nature aright and contrives to give its form a n.o.bler, freer grace, no one will understand the source of his inspiration, and every one will swear that he has taken it from the antique.

513

In studying the human form, let the painter reject what is exaggerated, false, and mechanical; but let him learn to grasp of what infinite grace the human body is capable.

514

Kant taught us the critique of the reason. We must have a critique of the senses if Art in general, and especially German Art, is ever to regain its tone and move forward on the path of life and happiness.

SCIENCE

515

In the sphere of natural science let us remember that we have always to deal with an insoluble problem. Let us prove keen and honest in attending to anything which is in any way brought to our notice, most of all when it does not fit in with our previous ideas. For it is only thereby that we perceive the problem, which does indeed lie in nature, but still more in man.

516

A man cannot well stand by himself, and so he is glad to join a party; because if he does not find rest there, he at any rate finds quiet and safety.

517

It is a misfortune to pa.s.s at once from observation to conclusion, and to regard both as of equal value; but it befalls many a student.

518

In the history of science and throughout the whole course of its progress we see certain epochs following one another more or less rapidly. Some important view is expressed, it may be original or only revived; sooner or later it receives recognition; fellow workers spring up; the outcome of it finds its way into the schools; it is taught and handed down; and we observe, unhappily, that it does not in the least matter whether the view be true or false. In either case its course is the same; in either case it comes in the end to be a mere phrase, a lifeless word stamped on the memory.

519

First let a man teach himself, and then he will be taught by others.

520

Theories are usually the over-hasty efforts of an impatient understanding that would gladly be rid of phenomena, and so puts in their place pictures, notions, nay, often mere words. We may surmise, or even see quite well, that such theories are make-shifts; but do not pa.s.sion and party-spirit love a make-shift at all times? And rightly, too, because they stand in so much need of it.

521

It is difficult to know how to treat the errors of the age. If a man oppose them, he stands alone; if he surrender to them, they bring him neither joy nor credit.