Trinity, and the interminable strifes, nay national wars therefrom arising, to face astounded history with the irrefutable fruits of this intermarriage.
Towards the close of the Middle Ages, the Roman Church raised its assumption of the immobility of the earth to the rank of an article of belief: but it could not prevent America from being discovered, the conformation of the globe mapped out, and Nature's self at last laid so far bare to knowledge that the inner harmony of all her manifold phenomena has now been proved to demonstration. The impulse that led toward these discoveries sought, at like time, to find an utterance in that branch of art which was of all best fitted for its artistic satisfaction. With the Renaissance of Art, Painting also, in eager struggle for ennoblement, linked on her own new birth to the revival of the antique; beneath the shelter of the prosperous Church she waxed to the portrayal of its chronicles, and passed from these to scenes of veritable history and actual life, still profiting by the advantage that she yet could take her form and colour from this actual life. But the more the physical Present was crushed by the marring influence of Fashion, and the more the newer school of Historical painting, in order to be beautiful, saw itself compelled by the unlovehiness of Life to construct from its own fancy and to combine from styles and manners twice borrowed from arthistory- not from hife,-the farther did Painting, departing from the portraiture of modish man, strike out that path to which we owe the loving understanding of Nature in the Landscape.
Man, around whom the landscape had erstwhile grouped itself as round its egoistic centre, shrank ever smaller mid the fulness of his surroundings, in direct proportion as he bowed beneath the unworthy yoke of disfiguring Fashion in his daily life; so that at last he played the role in Landscape which before had been assigned to landscape as a foil to him. Under the given circumstances, we can only celebrate this advance of landscape as a victory of Nature over base and man-degrading Culture. For therein undisfigured Nature asserted herself; in the only possible mode, against her foe; inasmuch as, seeking for a sanctuary the while, she laid bare herself; as though from very Want, to the inner understanding of artistic Man.
Modern Natural Science and Landscape-Painting are the only outcomes of the Present which, either from an artistic or a scientific point of view, offer us the smallest consolation in our impotence, or refuge from our madness. Amid the hopeless splintering of all our art-endeavours, the solitary genius who for a moment binds them into almost violent union, may accomplish feats the more astounding as neither the need nor the conditions for his art- work are now to hand: the general concensus of the Painter's art, however, takes almost solely the direction of the Landscape. For here it finds exhaustless subjects, and thereby an inexhaustible capacity; whereas in every other attempt to shadow Nature forth, it can only proceed by arbitrary sifting, sorting, and selecting, to garner from our absolutely inartistic life an object worthy of artistic treatment.
The more the so-called Historical school of painting is busied with its efforts to build up and explain to us the genuine beauteous Man and genuine beauteous Life, by reminiscences from the farthest past; the more, with all its prodigious outlay of expedients, it confesses the heaviness of the burden imposed upon it, to seek to be more and other than behoves the nature of one single branch of art,-so much the more must it long for a redemption which, like that destined for Sculpture, can only consist in its ascension into that from which it drew the original force that gave to it artistic life; and this is even the living human Art-work, whose very birth from Life must heave away the conditions that made possible the being and the prospering of Painting as an independent branch of art. The man- portraying art of Painting will never find it possible to lead a healthy, necessary life--when, without a pencil or a canvas, in liveliest artistic setting, the beauteous Man portrays himself in full perfection. What she now toils to reach by honest effort, she then will reach in perfect measure, when she bequeaths her colour and her skill of composition to the living 'plastic' of the real dramatic representant; when she steps down from her canvas and her plaster, and stands upon the Tragic stage; when she bids the artist carry out in his own person what she toiled in vain to consummate by heaping up of richest means without the breath of actual Life.
But Landscape-painting, as last and perfected conclusion of all the plastic arts, will become the very soul of Architecture ; she will teach us so to rear the stage for the dramatic Artwork of the Future that on it, herself imbued with life, she may picture forth the warm background of Nature for living, no longer counterfeited, Man.-
If we may thus regard the scene of the united Artwork of the Future as won by the highest power of Plastic- Art, and therewith as attained the inmost knowledge of familiar Nature: we may now proceed to take a closer view of the nature of this Artwork itself.
IV. OUTLINES OF THE ARTWORK OF THE FUTURE.
IF we consider the relation of modern art-so far as it is truly Art-to public life, we shall recognise at once its complete inability to affect this public life in the sense of its own noblest endeavour. The reason hereof is, that our modern art is a mere product of Culture and has not sprung from Life itself; therefore, being nothing but a hot- house plant, it cannot strike root in the natural soil, or flourish in the natural climate of the present. Art has become the private property of an artist-caste; its taste it offers to those alone who understand it; and for its understanding it demands a special study, aloof from actual life, the study of art-learning. This study, and the understanding to be attained thereby, each individual who has acquired the gold wherewith to pay the proffered delicacies of art conceives to.day that he has made his own: if, however, we were to ask the Artist whether the great majority of art's amateurs are able to understand him in his best endeavours, he could only answer with a deep-drawn sigh. But if he ponder on the infinitely greater mass of those who are perforce shut out on every side by the evils of our present social system from both the understanding and the tasting of the sweets of modern art, then must the artist of to-day grow conscious that his whole art-doings are, at bottom, but an egoistic, self-concerning business; that his art, in the light of public life, is nothing else than luxury and superfluity, a self-amusing pastime. The daily emphasised, and bitterly deplored abyss between so-called culture and un-culture is so enormous; a bridge between the two so inconceivable; a reconcilement so impossible; that, had it any candour, our modern art, which grounds itself on this unnatural culture, would be forced to admit, to its deepest shame, that it owes its existence to a life-element which in turn can only base its own existence on the utter dearth of culture among the real masses of mankind.
The only thing which, in the position thus assigned to her, our Modern Art should be able to effect-and among honest folk, indeed, endeavours-namely, the spreading abroad of culture, she cannot do; and simply for the reason that, for Art to operate on Life, she must be herself the blossom of a natural culture, i.e., such an one as has grown up from below, for she can never hope to rain down culture from above. Therefore, taken at its best, our 'cultured' art resembles an orator who should seek to address himself in a foreign tongue to a people which does not understand it: his highest flights of rhetoric can only lead to the most absurd misunderstandings and confusion.-
Let us first attempt to trace the theoretic path upon which Modern Art must march forward to redemption from her present lonely, misprised station, and toward the widest understanding of general public Life. That this redemption can only become possible by the practical intermediation of public Life, will then appear self- evident
We have seen that Plastic Art can only attain creative strength by going to her work in unison with artistic Man, and not with men who purpose mere utility.
Artistic Man can only fully content himself by uniting every branch of Art into the common Artwork: in every segregation of his artistic faculties he is unfree, not fully that which he has power to be; whereas in the common Artwork he is free, and fully that which he has power to be.
The true endeavour of Art is therefore all-embracing: each unit who is inspired with a true art-instinct develops to the highest his own particular faculties, not for the glory of these special faculties, but for the glory of general Manhood in Art.
The highest conjoint work of art is the Drama: it can only be at hand in all its possible fulness, when in it each separate branch of art is at hand in its own utmost fulness.
The true Drama is only conceivable as proceeding from a common urgence of every art towards the most direct appeal to a common public. In this Drama, each separate art can only bare its utmost secret to their common public through a mutual parleying with the other arts; for the purpose of each separate branch of art can only be fully attained by the reciprocal agreement and co-operation of all the branches in their common message.
Architecture can set before herself no higher task than to frame for a fellowship of artists, who in their own persons portray the life of Man, the special surroundings necessary for the display of the Human Artwork. Only that edifice is built according to Necessity, which answers most befittingly an aim of man: the highest aim of man is the artistic aim; the highest artistic aim-the Drama. In buildings reared for daily use, the builder has only to answer to the lowest aim of men: beauty is therein a luxury. In buildings reared for luxury, he has to satisfy an unnecessary
