It has been the chief task of our whole discussion to prove the shallowness of such arguments and objections. We recognized that art is a way to overcome nature and to create out of the chaotic material of the world something entirely new, entirely unreal, which embodies perfect unity and harmony. The different arts are different ways of abstracting from reality; and when we began to analyze the psychology of the moving pictures we soon became aware that the photoplay has a way to perform this task of art with entire originality, independent of the art of the theater, as much as poetry is independent of music or sculpture of painting. It is an art in itself. Only the future can teach us whether it will become a great art, whether a Leonardo, a Shakespeare, a Mozart, will ever be born for it. Nobody can foresee the directions which the new art may take. Mere esthetic insight into the principles can never foreshadow the development in the unfolding of civilization. Who would have been bold enough four centuries ago to foresee the musical means and effects of the modern orchestra? Just the history of music shows how the inventive genius has always had to blaze the path in which the routine work of the art followed. Tone combinations which appeared intolerable dissonances to one generation were again and again assimilated and welcomed and finally accepted as a matter of course by later times. Nobody can foresee the ways which the new art of the photoplay will open, but everybody ought to recognize even today that it is worth while to help this advance and to make the art of the film a medium for an original creative expression of our time and to mold by it the esthetic instincts of the millions. Yes, it is a new art--and this is why it has such fascination for the psychologist who in a world of ready-made arts, each with a history of many centuries, suddenly finds a new form still undeveloped and hardly understood. For the first time the psychologist can observe the starting of an entirely new esthetic development, a new form of true beauty in the turmoil of a technical age, created by its very technique and yet more than any other art destined to overcome outer nature by the free and joyful play of the mind. * * * * * BOOKS BY HUGO MUeNSTERBERG Psychology and Life pp. 286, Boston, 1899 Grundzuege der Psychologie pp. 565, Leipzig, 1900 American Traits pp. 235, Boston, 1902 Die Amerikaner pp. 502 and 349, Berlin, 1904 (Rev, 1912) Principles of Art Education pp. 118, New York, 1905 The Eternal Life pp. 72, Boston, 1905 Science and Idealism pp. 71, Boston, 1906 Philosophie der Werte pp. 486, Leipzig, 1907 On the Witness Stand pp. 269, New York, 1908 Aus Deutsch-Amerika pp. 245, Berlin, 1909 The Eternal Values pp. 436, Boston, 1909 Psychotherapy pp. 401, New York, 1909 Psychology and the Teacher pp. 330, New York, 1910 American Problems pp. 222, New York, 1910