Faustian who stands before it feels that he too has a spiritual evolution. Before any great landscape by a Baroque master, the one word “historical” is enough to make us feel that there is a meaning in it wholly alien to the meaning of an Attic statue. As other melody, so also this of the restless outlineless brush-stroke is part of the dynamic stability of the universe of eternal Becoming, directional Time, and Destiny. The opposition of painting-style and drawing-style is but a particular aspect of the general opposition of historical and ahistorical form, of assertion and denial of inner development, of eternity and instantaneity. A Classical art-work is an event, a Western is a deed. The one symbolizes the here-and-now point, the other the living course. And the physiognomy of this script of the brush—an ornamentation that is entirely new, infinitely rich and personal, and peculiar to the Western Culture—is purely and simply _musical_. It is no mere conceit to compare the _allegro feroce_ of Frans Hals with the _andante con moto_ of Van Dyck, or the minor of Guercino with the major of Velasquez. Henceforward the notion of _tempo_ is comprised in the execution of a painting and steadily reminds us that this art is the art of a soul which, in contrast to the Classical, forgets nothing and will let nothing be forgotten that once was. The aëry web of brush-strokes immediately dissolves the sensible surface of things. Contours melt into chiaroscuro. The beholder has to stand a very long way back to obtain any corporeal impression out of our coloured space values, and even so it is always the chromatic and active air itself that gives birth to the things.