"Of the many necessary measures which this change called into being, some of the most important have been transferred with lasting success to the modern regulations of public schools: the most important of all, however, did not succeed--the one demanding that the teacher, also, should be consecrated to the new spirit, so that the aim of the public school has meanwhile considerably departed from the original plan laid down by Wolf, which was the cultivation of the pupil. The old estimate of scholarship and scholarly culture, as an absolute, which Wolf overcame, seems after a slow and spiritless struggle rather to have taken the place of the culture-principle of more recent introduction, and now claims its former exclusive rights, though not with the same frankness, but disguised and with features veiled. And the reason why it was impossible to make public schools fall in with the magnificent plan of classical culture lay in the un-German, almost foreign or cosmopolitan nature of these efforts in the cause of education: in the belief that it was possible to remove the native soil from under a man's feet and that he should still remain standing; in the illusion that people can spring direct, without bridges, into the strange Hellenic world, by abjuring German and the German mind in general. "Of course one must know how to trace this Germanic spirit to its lair beneath its many modern dressings, or even beneath heaps of ruins; one must love it so that one is not ashamed of it in its stunted form, and one must above all be on one's guard against confounding it with what now disports itself proudly as 'Up-to-date German culture.' The German spirit is very far from being on friendly times with this up-to-date culture: and precisely in those spheres where the latter complains of a lack of culture the real German spirit has survived, though perhaps not always with a graceful, but more often an ungraceful, exterior. On the other hand, that which now grandiloquently assumes the title of 'German culture' is a sort of cosmopolitan aggregate, which bears the same relation to the German spirit as Journalism does to Schiller or Meyerbeer to Beethoven: here the strongest influence at work is the fundamentally and thoroughly un-German civilisation of France, which is aped neither with talent nor with taste, and the imitation of which gives the society, the press, the art, and the literary style of Germany their pharisaical character. Naturally the copy nowhere produces the really artistic effect which the original, grown out of the heart of Roman civilisation, is able to produce almost to this day in France. Let any one who wishes to see the full force of this contrast compare our most noted novelists with the less noted ones of France or Italy: he will recognise in both the same doubtful tendencies and aims, as also the same still more doubtful means, but in France he will find them coupled with artistic earnestness, at