I have not the time to show you the innumerable effects of a like state of mind on works of art. You may trace them in the great development of the lyrical, sentimental and philosophical poetry of France, Germany and England; again, in the corruption and enrichment of language and in the invention of new classes and of new characters in literature; in the style and sentiments of all the great modern writers, from Chateaubriand to Balzac, from Goethe to Heine, from Cowper to Byron, and from Alfieri to Leopardi. You will find analogous symptoms in the arts of design if you observe their feverish, tortured and painfully archeological style, their aim at dramatic effect, psychological expression, and local fidelity; if you observe the confusion which has befogged the schools and injured their processes; if you pay attention to the countless gifted minds who, shaken by new emotions, have opened out new ways; if you analyze the profound sympathy for scenery which has given birth to a complete and original landscape art. But there is another art, Music, which has suddenly reached an extraordinary development. This development is one of the salient characteristics of our epoch, and the dependence of this on the modern mind, the ties by which they are connected, I shall endeavor to point out to you. This art was born, and necessarily, in two countries where people sing naturally, Italy and Germany. It was gestating for a century and a half in Italy, from Palestrina to Pergolese, as formerly painting from Giotto to Massaccio, discovering processes and feeling its way in order to acquire its resources. At the commencement of the eighteenth century it suddenly burst forth, with Scarlatti, Marcello and Handel. This is a most remarkable epoch. Painting at this time ceased to nourish in Italy, and in the midst of political stagnation, voluptuous, effeminate customs prevailed, furnishing an assembly of sigisbés, Lindors and amorous ladies for the roulades and tender sentimental scenes of the opera. Grave, ponderous Germany, at that time the latest in acquiring self-consciousness, now succeeds in displaying the severity and grandeur of its religious sentiment, its profound knowledge, and its vague melancholy instincts in the sacred music of Sebastian Bach, anticipating the evangelical epic of Klopstock. Tn the old and in the new nation the reign and expression of _sentiment_ is beginning. Between the two, half-Germanic and half-Italian, is Austria, conciliating the two spirits, producing Haydn, Gluck and Mozart. Music now becomes cosmopolite and universal on the confines of that great mental convulsion of souls styled the French Revolution, as formerly painting under the impulse of the great intellectual revival known under the name of the Renaissance. We need not be astonished at the appearance of this new art, for it corresponds to the appearance of a new genius--that of the ruling, morbid, restless, ardent character I have attempted to portray for you.