reproduced, and the weight of its authority is invoked from the past to make it sure. They are connoisseurs of art, primarily because they wish to kill art; they pretend to be physicians, when their real idea is to dabble in poisons. They develop their tastes to a point of perversion, that they may be able to show a reason for continually rejecting all the nourishing artistic fare that is offered them. For they do not want greatness, to arise: their method is to say, "See, the great thing is already here!" In reality they care as little about the great thing that is already here, as that which is about to arise: their lives are evidence of that. Monumental history is the cloak under which their hatred of present power and greatness masquerades as an extreme admiration of the past: the real meaning of this way of viewing history is disguised as its opposite; whether they wish it or no, they are acting as though their motto were, "let the dead bury the--living." Each of the three kinds of history will only flourish in one ground and climate: otherwise it grows to a noxious weed. If the man who will produce something great, have need of the past, he makes himself its master by means of monumental history: the man who can rest content with the traditional and venerable, uses the past as an "antiquarian historian": and only he whose heart is oppressed by an instant need, and who will cast the burden off at any price, feels the want of "critical history," the history that judges and condemns. There is much harm wrought by wrong and thoughtless planting: the critic without the need, the antiquary without piety, the knower of the great deed who cannot be the doer of it, are plants that have grown to weeds, they are torn from their native soil and therefore degenerate. III.