It is from this error alone, that arose those vast excesses of the Grecian mind which we see attaining under the Byzantine empire a pitch that quite obscures the old Hellenic character, yet which were but, at bottom, the normal blemishes of its good qualities. Philosophy might put forth its honestest endeavour to grasp the harmony of Nature: it only showed how impotent is the might of abstract Intellect. In defiance of all the saws of Aristotle, the Folk, in its desire to win itself an absolute bliss from the midst of this million-headed Egoism, formed itself a religion in which Nature was made the pitiful plaything of the quibbling search for human blessedness. It only needed the Grecian view of Nature's government by selfwilled, human-borrowed motives to be wedded to the Judao-oriental theory of her subservience to human Use,-for the disputations and decrees of Councils anent the essence of the 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 and unnatural need: his fashioning therefore is capricious, unproductive, and unlovely. On the other hand, in the construction of that edifice whose every part shall answer to a common and artistic aim alone,- thus in the building of the Theatre, the master-builder needs only to comport himself as artist, to keep a single eye upon the art-work. In a perfect theatrical edifice, Art's need alone gives law and measure, down even to the smallest detail. This need is twofold, that of giving and that of receiving, which reciprocally pervade and condition one another. The Scene has firstly to comply with all the conditions of "space" imposed by the joint (gemeinsam) dramatic action to be displayed thereon: but secondly, it has to fulfil those conditions in the sense of bringing this dramatic action to the eye and ear of the spectator in intelligible fashion. In the arrangement of the space for the spectators, the need for optic and acoustic understanding of the artwork will give the necessary law, which can only be observed by a union of beauty and fitness in the proportions; for the demand of the collective (gemeinsam) audience is the demand for the artwork, to whose comprehension it must be distinctly led by everything that meets the eye.(34)
Thus the spectator transplants himself upon the stage, by means of all his visual and aural faculties; while the performer becomes an artist only by complete absorption into the public. Everything, that breathes and moves upon the stage, thus breathes and moves alone from eloquent desire to impart, to be seen and heard within those walls which, however circumscribed their space, seem to the actor from his scenic standpoint to embrace the whole of humankind; whereas the public, that representative of daily life, forgets the confines of the auditorium, and lives and breathes now only in the artwork which seems to it as Life itself, and on the stage which seems the wide expanse of the whole World.
Such marvels blossom from the fabric of the Architect, to such enchantments can he give a solid base, when he takes the purpose of the highest human artwork for his own, when he summons forth the terms of its enlivening from the individual resources of his art. On the other hand, how rigid, cold, and dead does his handiwork appear when, without a higher helpmeet than the aim of luxury, without the artistic necessity which leads him, in the Theatre, to invent and range each detail with the greatest sense of fitness, he is forced to follow every speculative whim of his self-glorifying caprice; to heap his masses and trick out his ornament, in order to stereotype to-day the vanity of some boastful plutocrat, to-morrow the honours of a modernised Jehovah!
But not the fairest form, the richest masonry, can alone suffice the Dramatic Artwork for the perfectly befitting spacial terms of its appearance. The Scene which is to mount the picture of Human Life must, for a thorough understanding of this life, have power to also show the lively counterfeit of Nature, in which alone artistic Man can render up a speaking likeness of himself. The casings of this Scene, which look down chill and vacantly upon the artist and the public, must deck themselves with the fresh tints of Nature, with the warm light of heaven's aether, to be worthy to take their share in the human artwork. Plastic Architecture here feels her bounds, her own unfreedom, and casts herself, athirst for love, into the arms of Painting, who shall work out her redemption into fairest Nature.
Here Landscape-painting enters, summoned by a common need which she alone can satisfy. What the painter's expert eye has seen in Nature, what he now, as artist, would fain display for the artistic pleasure of the full community, he dovetails into the united work of all the arts, as his own abundant share. Through him the scene takes on complete artistic truth: his drawing, his colour, his glowing breadths of light, compel Dame Nature to serve the highest claims of Art. That which the landscape-painter, in his struggle to impart what he had seen and fathomed, had erstwhile forced into the narrow frames of panel-pictures,-whät he had hung up on the egoist's secluded chamber-walls, or had made away to the inconsequent, distracting medley of a picture-barn,-therewith will he henceforth fill the ample framework of the Tragic stage, calling the whole expanse of scene as witness to his power of recreating Nature. The illusion which his brush and finest blend of colours could only hint at, could only distantly approach, he will here bring to its consummation by artistic practice of every known device of optics, by use of all the art of 'lighting. The apparent roughness of his tools, the seeming grotesqueness of the method of so-called 'scene-painting,' will not offend him; for he will reflect that even 'the finest camel's-hair brush is but a humiliating instrument, when compared with the perfect Artwork; and the artist has no right to pride until he is free, i.e., until his artwork is completed and alive, and he, with all his helping tools, has been absorbed into it. But the finished artwork that greets him from the stage will, set within this frame and held before the common gaze of full publicity, immeasurably more content him than did his earlier work, accomplished with more delicate tools. He will not, forsooth, repent the right to use this scenic space to the benefit of such an artwork, for sake of his earlier disposition of a flat-laid scrap of canvas! For as, at the very worst, his work remains the same no matter what the frame from which it looks, provided only it bring its subject to intelligible show: so will his artwork, in this framing, at any rate effect a livelier impression, a greater and more universal understanding, than the whilom landscape picture.
The organ for all understanding of Nature, is Man: the landscape-painter had not only to impart to men this understanding, but to make it for the first time plain to them by depicting Man in the midst of Nature. Now by setting his artwork in the frame of the Tragic stage, he will expand the individual man, to whom he would address himself, to the associate manhood of full publicity, and reap the satisfaction of having spread his understanding out to that, and made it partner in his joy. But he cannot fully bring about this public understanding until he allies his work to a joint and all-intelligible aim of loftiest Art; while this aim itself will be disclosed to the
common understanding, past all mistaking, by the actual bodily man with all his warmth of life. Of all artistic things, the most directly understandable is the Dramatic-Action (Handlung), for reason that its art is not complete until every helping artifice be cast behind it, as it were, and genuine life attain the faithfullest and most intelligible show. And thus each branch of art can only address itself to the understanding in proportion as its core-whose relation to Man, or derivation from him, alone can animate and justify the artwork-is ripening toward the Drama. In proportion as it passes over into Drama, as it pulses with the Drama's light, will each domain of Art grow all-intelligible, completely understood and justified. (35)
On to the stage, prepared by architect and painter, now steps Artistic Man, as Natural Man steps on the stage of Nature. What the statuary and the historical painter endeavoured to limn on stone or canvas, they now himn upon themselves, their form, their body's limbs, the features of their visage, and raise it to the consciousness of full artistic life. The same sense that led the sculptor in his grasp and rendering of the human figure, now leads the Mime in the handling and demeanour of his actual body. The same eye which taught the historical painter, in drawing and in colour, in arrangement of his drapery and composition of his groups, to find the beautiful, the graceful and the characteristic, now orders the whole breadth of actual human show. Sculptor and painter once freed the Greek Tragedian from his cothurnus and his mask, upon and under which the real man could only move according to a certain religious convention. With justice, did this pair of plastic artists annihilate the last disfigurement of pure artistic man, and thus prefigure in their stone and canvas the tragic Actor of the Future. As they once descried him in his undistorted truth, they now shall let him pass into reality and bring his form, in a measure sketched by them, to bodily portrayal with all its wealth of movement.
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