False "accentuation": (1) In romanticism, this unremitting "_expressivo_" is not a sign of strength, but of a feeling of deficiency; (2) Picturesque music, the so-called dramatic kind, is above all easier (as is also the brutal scandalmongering and the juxtaposition of facts and traits in realistic novels); (3) "Passion" as a matter of nerves and exhausted souls; likewise the delight in high mountains, deserts, storms, orgies, and disgusting details,--in bulkiness and massiveness (historians, for instance); as a matter of fact, there is actually a cult of exaggerated feelings (how is it that in stronger ages art desired just the opposite--a restraint of passion?); (4) The preference for exciting materials (_Erotica_ or _Socialistica_ or _Pathologica_): all these things are the signs of the style of public that is being catered for to-day--that is to say, for overworked, absentminded, or enfeebled people. Such people must be tyrannised over in order to be affected. 827. Modern art is the art of tyrannising. A coarse and salient definiteness in delineation; the motive simplified into a formula; formulæ tyrannise. Wild arabesques within the lines; overwhelming masses, before which the senses are confused; brutality in coloration, in subject-matter, in the desires. Examples: Zola, Wagner, and, in a more spiritualised degree, Taine. Hence logic, massiveness, and brutality. 828. In regard to the painter: _Tous ces modernes sont des poètes qui ont voulu être peintres, L'un a cherché des drames dans l'histoire, l'autre des scènes de mœurs, celui ci traduit des religions, celui là une philosophie._ One imitates Raphael, another the early Italian masters. The landscapists employ trees and clouds in order to make odes and elegies. Not one is simply a painter; they are all archæologists, psychologists, and impresarios of one or another kind of event or theory. They enjoy our erudition and our philosophy. Like us, they are full, and too full, of general ideas. They like a form, not because it is what it is, but because of what it expresses. They are the scions of a learned, tormented, and reflecting generation, a thousand miles away from the Old Masters who never read, and only concerned themselves with feasting their eyes. 829.