For these new things are only ugly when they are regarded with the eyes of a past century, when our contemporaries, jealously guarding a reverent over-estimation, valuing the rust and not the gold, despise modern works of art, and pay a thousand times too dear for the indifferent productions of a past age. Only in this state of feeling is it possible to esteem mail-coaches poetical and locomotives ugly; only thus is it possible for poets, who have not learned to see with emancipated and independent eyes, to assume such a hostile attitude, or at the best an indifferent attitude, to our realities. Let us remember Nietzsche's beautiful words: 'My formula for grandeur in man is _amor fati_: that a man should ask for nothing else, either in the past or in the future, in all eternity. We must not only endure what is necessary, still less conceal it--all idealism is lying in necessity's face--but we must _love_ it.'[1] And in this sense some few in our days have loved what is new, first as a necessity, and then as beauty. A generation ago now, Carlyle was the first to preach the heroism of everyday life, and exhorted the poets of his day not to describe the greatness they found in mouldy chronicles, but to look for it where it was nearest to them, in the realities around them. Constantin Meunier has found the idea of a new sculpture in democracy, Whistler and Monet have discovered in the smoky breath of this age of machinery a new tone of colour which is not less beautiful than Italy's eternal azure and the halcyon sky of Greece. It is only from the vast agglomerations, the immense dimensions of the new world that Walt Whitman has derived the strength and power of his voice. The whole difficulty which thus far has permitted only a few to serve the new beauty in the new things lies in the fact that our age is not yet a period of decided conviction, but only one of transition. The victory of machinery is not yet complete; handiwork still subsists, little towns still flourish, it is still possible to take refuge in an idyll, to find the old beauty in some sequestered corner. Not till the poet is shut off from all flight to inherited ideals will he be forced to change himself into a new man. For the new things have not yet organically developed their beauty. Every new thing on its first appearance is blended with something repellent, brutal, and ugly; it is only gradually that its inherent form shapes itself æsthetically. The first steamers, the first locomotives, the first automobiles, were ugly. But the slender, agile torpedo-boats of to-day, the bright-coloured, noiselessly--gliding automobiles with their hidden mechanism, the great, broad-chested Pacific Railway engines of to-day, are impressive by their outward form alone. Our huge shops, such as those which Messel built in Berlin, display a beauty in iron and glass which is hardly less than that of the cathedrals and palaces of old time. Certain great things,