Perhaps Dürer's actual standards for the normal, his actual methods for creating self-consistent variations from it, are not likely to prove of much use, even when artists shall be sufficiently educated to understand them; nevertheless, the principle which informs them has been latent in the work of all great creators; is marvellously fulfilled indeed, in Greek statuary. The work of Antoine Louis Barye, that great and little-understood master--as far as I am able to judge, the only modern artist who has made science serve him instead of being seduced by her--exemplifies this central idea of Dürer's almost as fully as the Greek masterpieces. The future of art appears to me to lie in the hands of those artists who shall be able to grapple with the new means offered them by the advance of science, as he did, and be as little or even less seduced than he was by the foolish idea that art can become science without ceasing to be art, which has handicapped and defeated the efforts of so many industrious and talented men of late years. So truly is this the case that the improvisor appears to many as the only true artist, and his uncontrolled caprices as the farthest reach of human constructive power. In any case, no artist is unhappy if a docile and hopeful disposition enables him to see in the masterpieces of Greek sculpture the reward of an easy balance of both temperaments and methods, the improvisor's and the elaborator's, under felicitous circumstances, by men better endowed than himself. And this though never history and archaeology shall be in a position to give him information sufficient to determine that his faith is wholly warranted. A golden age is a golden dream, that sheds A golden light on waking hours, on toil, On leisure, and on finished works. FOOTNOTES: [Footnote 85: "Literary Remains of Albrecht Dürer," p. 166.] [Footnote 86: See also III Discourse where he defends Dürer against Bacon.] CHAPTER II THE IMPORTANCE OF DOCILITY I