Such is the nature of art. If it be asked, what is its end, here we encounter the most diverse opinions. The most common is that which gives imitation as its object. This is the foundation of nearly all the theories upon art. Now of what use to reproduce that which nature already offers to our view? This puerile talk, unworthy of spirit to which it is addressed, unworthy of man who produces it, would only end in the revelation of its impotency and the vanity of its efforts; for the copy will always remain inferior to the original. Besides, the more exact the imitation, the less vivid is the pleasure. That which pleases us is not imitation, but creation. The very least invention surpasses all the masterpieces of imitation. In vain is it said that art ought to imitate beautiful Nature. To select is no longer to imitate. Perfection in imitation is exactness; moreover, choice supposes a rule; where find the criterion? What signifies, in fine, imitation in architecture, in music, and even in poetry? At most, one can thus explain descriptive poetry, that is to say, the most prosaic kind. We must conclude, therefore, that if, in its compositions, art employs the forms of Nature, and must study them, its aim is not to copy and to reproduce them. Its mission is higher—its procedure freer. Rival of nature, it represents ideas as well as she, and even better; it uses her forms as symbols to express them; and it fashions even these, remodels them upon a type more perfect and more pure. It is not without significance that its works are styled the creations of the genius of man. A second system substitutes expression for imitation. Art accordingly has for its aim, not to represent the external form of things, but their internal and living principle, particularly the ideas, sentiments, passions, and conditions of the soul.