Heinrich von Treitschke, in his recent "Politik," imitates the direct inference of Buckle when he ascribes the absence of artistic and poetic development in Switzerland and the Alpine lands to the overwhelming aspect of nature there, its majestic sublimity which paralyzes the mind.[19] He reinforces his position by the fact that, by contrast, the lower mountains and hill country of Swabia, Franconia and Thuringia, where nature is gentler, stimulating, appealing, and not overpowering, have produced many poets and artists. The facts are incontestable. They reappear in France in the geographical distribution of the awards made by the Paris _Salon_ of 1896. Judged by these awards, the rough highlands of Savoy, Alpine Provence, the massive eastern Pyrenees, and the Auvergne Plateau, together with the barren peninsula of Brittany, are singularly lacking in artistic instinct, while art nourishes in all the river lowlands of France. Moreover, French men of letters, by the distribution of their birthplaces, are essentially products of fluvial valleys and plains, rarely of upland and mountain.[20] This contrast has been ascribed to a fundamental ethnic distinction between the Teutonic population of the lowlands and the Alpine or Celtic stock which survives in the isolation of highland and peninsula, thus making talent an attribute of race. But the Po Valley of northern Italy, whose population contains a strong infusion of this supposedly stultifying Alpine blood, and the neighboring lowlands and hill country of Tuscany show an enormous preponderance of intellectual and artistic power over the highlands of the peninsula.[21] Hence the same contrast appears among different races under like geographic conditions. Moreover, in France other social phenomena, such as suicide, divorce, decreasing birth-rate, and radicalism in politics, show this same startling parallelism of geographic distribution,[22] and these cannot be attributed to the stimulating or depressing effect of natural scenery upon the human mind.