I do not speak against the working out of such; I speak against an independent working out--that is, a separate one running a course other than that in which music is the greatest essential. I remember one of the best _ballerinas_ contorting herself in wild movements of anguish while the notes of the violin were dying away in one long sound of a trill. She “acted,” and there is, of course, no harm in this, but she acted according to her ideas, instead of acting according to music. It is just the same sin against art as if a singer were to execute a lyric song with bravado. Would you forgive him? Why, then, do we not forgive a singer, yet forgive a mimic, even admire his “acting”? Why is it every one understands that singing must agree with music, and so few, almost nobody, feel the offensiveness of movement which disagrees with music? And yet how sensitive to the observation of the musico-plastic principle are those who are so indifferent to its non-observation. How much they enjoy, though unconsciously, every manifestation of that concordance! We may say with certitude that for the best moments, the moments of greatest satisfaction in the living art--that is, the musico-plastic art combining the visible with the audible--we are indebted to the simultaneous concurrence of the plastic movement with the musical; in other words, to the equality in division of space and time. In an old French treatise on the dance, published in the year 1589, the author says among other bits of advice: “It is wrong for the foot to say one thing and the instrument the other.” In its naïve conciseness this sentence represents the germ of all that has been said, perhaps with some prolixity, in these pages. ‘Space and time are the fundamental conditions of all material existence--and for that same reason the inevitable conditions of all material manifestation of man within the limits of his earthly being. If we agree that art is the highest manifestation of order in matter, and order in its essence nothing but division of space and time, we shall understand the fullness of artistic satisfaction which man must feel when both his organs of perfection, eye and ear, convey to him not only each separate enjoyment, but the enjoyment of fusion; when all his æsthetic functions are awakened in him not separately but collectively, in one unique impression: the visible rhythm penetrated by the audible, the audible realized in the visible, and both united in movement. This is the combination of the spacial order with the temporal. And when this combination is accomplished, and still more when it is animated with expression, then no chord of human impressionability is left untouched, no category of human existence is neglected; space and time are filled with art, the whole man is but one æsthetic perception.