We had left Art to talk of the State, and then returned to the former theme to touch lightly on the pictorial arts. Painting was allowed to pass with merely a fleeting remark. It plays no considerable part in Einstein's existence, and he would not suffer great grief if it were to vanish from the plane of culture, a consummation to which definite signs seems to point. I have described these signs in other writings (as in _Kunst in 1000 Jahren_), and maintain the point of view that the latest branches of painting as represented by expressionism and cubistic futurism denote, in essence, the last convulsions of a dying surface art. And even the chief representatives of former flourishing periods are beginning to fade away, and Einstein will not be the only one who will relegate this art, as compared with music, to a lower plane among the inspired arts that bring joy to humanity. He is only more frank than others when he freely confesses that he cannot convince himself that a life without the joys of pictorial art would be hopelessly impoverished. But he bows his head to sculpture, and, for him, architecture is a goddess. It is again his deeply rooted piety that asserts itself when memory recalls to him the Gothic dome with its pinnacles striving towards heaven. Goethe and Schlegel have called architecture "frozen music," and this picture is present in his mind when he sees Gothic architecture as frozen music of Bach. It is open to anyone to analyse this specific impression in another way by seeking the fundamental elements, in which the essence of the art is to provide support for a weighty structure and to overcome gravitation. For a spirit that works with mechanics and that feels within itself the pressures and tensions occurring in external nature, architecture is a kind of statics and dynamics transformed into a thing of beauty, a ravishing picture of his own science. * * * * * * * *