[70] _W. P._, Vol. II, pp. 241, 242, 245. See also T. I., Part 10, Aph. 20: "The ugly is understood as a sign and symptom of degeneration; that which reminds us in the remotest manner of degeneracy prompts us to pronounce the verdict 'ugly.' Every indication of exhaustion, gravity, age or lassitude; every kind of constraint, such as cramp or paralysis; and above all the odour, the colour, and the likeness of decomposition or putrefaction, be it utterly attenuated even to a symbol:--all these things call forth a similar reaction, the evaluation 'ugly.' A hatred is there excited: whom does man hate there? There can be no doubt: _the decline of his type_." [71] _T. I._, Part 10, Aph. 20. [72] _Essays_, Vol. II (1901 Edition), p. 394. 8. The Ruler-Artist's Style and Subject. Up to the present, you have doubtless observed that I have spoken only of man as the proper subject-matter of the graphic Arts. In maintaining this, Nietzsche not only has Goethe and many lesser men on his side, but he has also the history of Art in general. I cannot, however, show you yet how, or in what manner, animal-painting, landscape-painting, and, in some respects, portrait-painting are to be placed lower than the art which concerns itself with man. Let it therefore suffice, for the present, simply to recognize the fact that Nietzsche did take up this attitude, and leave the more exhaustive discussion of it to the next part of this lecture. Now, eliminating for a moment all those pseudo-artists who have been reared by the two strongest public demands on the Art of the present age--I speak of portrait-painting and dining-room pictures--there remains a class of artists which still shows signs of raising its head here and there, though every year with less frequency, and this is the class which, for want of a better term, we call Ruler-artists. As I say, they are becoming extremely rare; their rarity, which may be easily accounted for,[73] is one of the evil omens of the time. The ruler-artist is he who, elated by his own health and love of Life, says "Yea" to his own type and proclaims his faith or confidence in it, against all other types; and who, in so doing, determines or accentuates the values of that type. If he prevails in concepts in so doing, he also ennobles and embellishes the type he is advocating. He is either the maker or the highest product of an aspiring and an ascending people. In him their highest values find their most splendid bloom. In him their highest values find their strongest spokesman. And in his work they find the symbol of their loftiest hopes. By the beauty which his soul reflects upon the selected men he represents in his works, he establishes an order of rank among his people, and puts each in his place.