The monologue-art of very lonely natures is also in reality a conversation with self in the second person. But it is only in the intellectuality of the megalopolitan stages that the impulse to express is overcome by the impulse to communicate (see Vol. II, p. 135) which gives rise to that tendencious art that seeks to instruct or convert or prove views of a politico-social or moral character, and provokes the antagonistic formula of “Art for Art’s sake”—which is itself rather a view than a discipline, though it does at least serve to recall the primitive significance of artistic expression. Footnote 212: See Vol. II, pp. 138 et seq., and Worringer, _Abstraktion und Einführung_, pp. 66 et seq. Footnote 213: Imitation, being life, is past in the very moment of accomplishment. The curtain falls, and it passes either into oblivion or, if the product is a durable artifact, into art-history. Of the songs and dances of old Cultures nothing remains, of their pictures and poems little. And even this little contains, substantially, only the ornamental side of the original imitation. Of a grand drama there remains only the text, not the image and the sound; of a poem only the words, not the recital; and of all their music the notes at most, not the tone-colours of the instruments. The essential is irrevocably gone, and every “reproduction” is in reality something new and different. Footnote 214: For the workshop of Thothmes at Tell-el-Amarna, see _Mitteilungen der Deutschen Orient-Gesellschaft_, No. 52, pp. 28 et seq. Footnote 215: K. Burdach, _Deutsche Renaissance_, p. 11. The pictorial art of the Gothic period also has its strict typism and symbolism. Footnote 216: E. Norden, _Antike Kunst-prosa_, pp. 8 et seq. Footnote 217: See Vol. II, p. 323. Footnote 218: The translation is so far a paraphrase here that it is desirable to reproduce the German original: “Alles Schöne vergeht mit dem Lebenspulsschlag (dessen) der es aus dem kosmischen Takt heraus als solches empfindet.” Footnote 219: Hence the ornamental character of script. Footnote 220: See p. 188. Footnote 221: See Vol. II, p. 104. Footnote 222: E.g., the Slavonic round-villages and Teutonic street-villages east of the Elbe. Similarly, conclusions can be drawn as to many of the events of the Homeric age from the distribution of round and rectangular buildings in ancient Italy. Footnote 223: See Vol. II, p. 109. Footnote 224: See p. 167. Footnote 225: See Vol. II, pp. 142 et seq. Footnote 226: See p. 128. Footnote 227: See p. 62. ----- IV