=1133.= Mathematics and music, the most sharply contrasted fields of scientific activity which can be found, and yet related, supporting each other, as if to show forth the secret connection which ties together all the activities of our mind, and which leads us to surmise that the manifestations of the artist’s genius are but the unconscious expressions of a mysteriously acting rationality.--HELMHOLTZ, H. _Vorträge und Reden, Bd. 1 (Braunschweig, 1884), p. 82._ =1134.= Among all highly civilized peoples the golden age of art has always been closely coincident with the golden age of the pure sciences, particularly with mathematics, the most ancient among them. This coincidence must not be looked upon as accidental, but as natural, due to an inner necessity. Just as art can thrive only when the artist, relieved of the anxieties of existence, can listen to the inspirations of his spirit and follow in their lead, so mathematics, the most ideal of the sciences, will yield its choicest blossoms only when life’s dismal phantom dissolves and fades away, when the striving after naked truth alone predominates, conditions which prevail only in nations while in the prime of their development.--LAMPE, E. _Die Entwickelung der Mathematik etc. (Berlin, 1893), p. 4._ =1135.= Till the fifteenth century little progress appears to have been made in the science or practice of music; but since that era it has advanced with marvelous rapidity, its progress being curiously parallel with that of mathematics, inasmuch as great musical geniuses appeared suddenly among different nations, equal in their possession of this special faculty to any that have since arisen. As with the mathematical so with the musical faculty--it is impossible to trace any connection between its possession and survival in the struggle for existence. --WALLACE, A. R. _Darwinism, Chap. 15._ =1136.= In my opinion, there is absolutely no trustworthy proof that talents have been improved by their exercise through the course of a long series of generations. The Bach family shows that musical talent, and the Bernoulli family that mathematical power, can be transmitted from generation to generation, but this teaches us nothing as to the origin of such talents. In both families the high-watermark of talent lies, not at the end of the series of generations, as it should do if the results of practice are transmitted, but in the middle. Again, talents frequently appear in some member of a family which has not been previously distinguished.