of greatness, and before it the unconscious is dispersed as the sun disperses a mist. If only consciousness were to come to this age, how quickly voices that are now famous would become silent. It is only in full consciousness, in which the experience of the present assumes greater intensity by its union with all the experiences of the past, that imagination, the necessary quality for all philosophical as for all artistic effort, can find a place. It is untrue, therefore, that women have more imagination than men. The experiences on account of which men have assigned higher powers of imagination to women come entirely from the imaginative sexual life of women. The only inferences that can be drawn from this do not belong to the present section of my work. The absence of women from the history of music must be referred to deeper causes; but it also supports my contention that women are devoid of imagination. To produce music requires a great deal more imagination than the malest woman possesses, and much more than is required for other kinds of artistic or for scientific effort. There is nothing in nature, nothing in the sphere of the senses, corresponding directly with sound pictures. Music has no relation to the world of experience; there is no “music,” no chords or melodies in the natural world; these have to be evolved from the imagination of the composer. Every other art has more definite relations to empirical art. Even architecture, which has been compared with music, has definite relations to matter, although, like music, it has no anticipations in the senses. Architecture, too, is an entirely masculine occupation. The very idea of a female architect excites compassion. The so-called stupefying effect of music on the creative or practical musician (especially instrumental music) depends on the fact that even the sense of smell is a better guide to man in the world of experience than the contents of a musical work. And it is just this complete absence of all relation to the world of sight, taste, and smell, that makes music specially unfitted to express the female nature. It also explains why this peculiarity of his art demands the highest grade of imagination from a musician, and why those to whom musical compositions “come” seem stranger to their fellow men than painters or sculptors. The so-called “imagination” of women must be very different from that of men, since there is no woman with even the same position in the history of music that Angelica Kaufmann had in art.