There is, and I maintain there can be no absolute, universal, pure art immediately intelligible to all men. It was the false idea that music was purely sensual which led Pater to think that music was such an art and that all other arts should attain its perfection. The development of every art is a development farther and farther away from the mere sensations upon which it is founded, and these developments make a web of experience which is constantly being rewoven and renewed (probably without a single strand ever being lost or destroyed) and, without this, music would dissolve into meaningless sounds. We look upon the eye and the ear as beautiful complex creations of life. We think of them as physical entities because their creation is so far back in life that it belongs to the sub-human or animal epoch, and so they have become physical things, if not material objects. But this power of becoming _physical_ (life taking on flesh, the spirit achieving form) or _material_ (electricity becoming molecules of hydrogen, lead, etc.) is the process which I have described as death; and as that necessary and important death, death the complement of life. But, as I have already shown, a third kind of death, other than the material and the physical, is that of _intellectual_ structure--known variously as tradition, belief, dogma, logic, technique or, most comprehensively, as knowledge. Just as a multitude of deaths were necessary to the evolution of the eye and the ear so a multitude of deaths (an Encyclopædia is a mental cemetery) are necessary to the evolution of the mind. The past experience of music which every trained musician possesses is such knowledge. If he merely repeats it, copies out of the past stored in his mind, in the mind of his generation, in the culture he and his generation have inherited, he is a mere academic musician and not a creative artist. But there are degrees in this as in everything else. It is not the possession of the tradition which makes a musician academic and lifeless, it is the failure to use the traditions to express himself; and this is a failure in musical life. A musical mind which is a mere body of musical tradition is like a detached ear or a plucked out eye--an ear which does not hear or an eye which does not see. The life of hearing is not in the organ, not in what has been heard--of which it is the physical representation, the _death-shape_--it is in creation, the hearing of a new thing. And creation is that movement from life to death, from soul to substance, from the spirit to the form which is the imagining forth of love, for love alone is a creative motive.