the same purpose, it reflects character in sounds. Art starts from the natural _ignorance_ of man about his interior condition (in body and character); it is not meant for philosophers or natural scientists. 161. THE OVER-VALUATION OF SELF IN THE BELIEF IN ARTISTS AND PHILOSOPHERS.--We are all prone to think that the excellence of a work of art or of an artist is proved when it moves and touches us. But there _our own excellence_ in judgment and sensibility must have been proved first, which is not the case. In all plastic art, who had greater power to effect a charm than Bernini, who made a greater effect than the orator that appeared after Demosthenes introduced the Asiatic style and gave it a predominance which lasted throughout two centuries? This predominance during whole centuries is not a proof of the excellence and enduring validity of a style; therefore we must not be too certain in our good opinion of any artist,--this is not only belief in the truthfulness of our sensations but also in the infallibility of our judgment, whereas judgment or sensation, or even both, may be too coarse or too fine, exaggerated or crude. Neither are the blessings and blissfulness of a philosophy or of a religion proofs of its truth; just as little as the happiness which an insane person derives from his fixed idea is a proof of the reasonableness of this idea. 162. THE CULT OF GENIUS FOR THE SAKE OF VANITY.--Because we think well of ourselves, but nevertheless do not imagine that we are capable of the conception of one of Raphael's pictures or of a scene such as those of one of Shakespeare's dramas, we persuade ourselves that the faculty for doing this is quite extraordinarily wonderful, a very rare case, or, if we are religiously inclined, a grace from above. Thus the cult of genius fosters our vanity, our self-love, for it is only when we think of it as very far removed from us, as a _miraculum,_ that it does not wound us (even Goethe, who was free from envy, called Shakespeare a star of the farthest heavens, whereby we are reminded of the line "die Sterne, die begehrt man nicht".[1]) But, apart from those suggestions of our vanity, the activity of a genius does not seem so radically different from the activity of a mechanical inventor, of an astronomer or historian or strategist. All these forms of activity are explicable if we realise men whose minds are active in one special direction, who make use of everything as material, who always eagerly study their own inward life and that of others, who find types and incitements everywhere, who never weary in the employment of their means. Genius does nothing but learn how to lay stones, then to build, always to seek for material and always to work upon it. Every human activity is marvellously complicated, and not only that of genius, but it is no "miracle." Now whence comes the belief that genius is found only in artists, orators, and philosophers, that they alone have "intuition"