This also is always the psychology of the born artist, who is one because his organisation forces him to it. Beside him, however, swarms the innumerable crowd of imitation artists, of average, and very average men, who would never of themselves have thought of becoming artists—men who would never have discovered art of themselves, if they had not had before their eyes the example of the original artists, their successes, their recognition by civilised society. These individuals pursue art, not to deliver themselves from an obsessing conception, but as a means of attaining privileges, gold, and honours. For them art is an avocation like any other, a trade learnt, which is to bring them, not to subjective psychological, but to practical and social ends. They try by a sort of mimicry to become like the original artists, but they belong to another species. Nevertheless, it is not permissible to neglect them in this consideration, for, for one thing, they constitute the vast majority of artists, from the moment when the pursuit of art has become a differentiated activity, the habitual and exclusive occupation of a separate class of society; and then the productions of these imitators are always modelled after works done through organic necessity. They are, to a certain extent, the small change of originally great values; they would like to be changed for them, and everything which is to be said of any particular problem of art, necessarily finds its application to the imitations as well as to the original pictures. These are then the origins and stages of development of art. At the outset, it is actually what the school of “art for art’s sake” asserts of it: a subjective purpose, a satisfaction of an organic need on the part of the artist. Soon, however, the artist ceases to confine himself to satisfying himself in relieving himself; he also seeks to please others. In the most secret and mysterious moments of creation, the thought of other men is present in his mind; considerations as to effect and success are mixed with his productive emotions. Substitute mere craftsmanship for inspiration, then these considerations become more and more dominant, and when art has once become a regular ordinary business, and the imitators, the mere echoes and reflections, have once become the majority among those who practise it, then the artist has his eyes continually fixed on his tribunal, viz., society. In the moment his work of art is germinating, it is strongly influenced by consideration of the known or the supposed taste of the society whose applause the artist courts, and the work undergoes a development more or less remote from the form it would have acquired under the pure influence of emotion, its primary source.