In music the same occurs as in verbal art, and for similar reasons. In consequence of the poorness of the feeling they contain, the melodies of the modern composers are amazingly empty and insignificant. And to strengthen the impression produced by these empty melodies, the new musicians pile complex modulations on to each trivial melody, not only in their own national manner, but also in the way characteristic of their own exclusive circle and particular musical school. Melody—every melody—is free, and may be understood of all men; but as soon as it is bound up with a particular harmony, it ceases to be accessible except to people trained to such harmony, and it becomes strange, not only to common men of another nationality, but to all who do not belong to the circle whose members have accustomed themselves to certain forms of harmonisation. So that music, like poetry, travels in a vicious circle. Trivial and exclusive melodies, in order to make them attractive, are laden with harmonic, rhythmic, and orchestral complications, and thus become yet more exclusive, and far from being universal are not even national, _i.e._ they are not comprehensible to the whole people but only to some people. In music, besides marches and dances by various composers, which satisfy the demands of universal art, one can indicate very few works of this class: Bach’s famous violin _aria_, Chopin’s nocturne in E flat major, and perhaps a dozen bits (not whole pieces, but parts) selected from the works of Haydn, Mozart, Schubert, Beethoven, and Chopin.[87] Although in painting the same thing is repeated as in poetry and in music,—namely, that in order to make them more interesting, works weak in conception are surrounded by minutely studied accessories of time and place, which give them a temporary and local interest but make them less universal,—still, in painting, more than in the other spheres of art, may be found works satisfying the demands of universal Christian art; that is to say, there are more works expressing feelings in which all men may participate. In the arts of painting and sculpture, all pictures and statues in so-called genre style, depictions of animals, landscapes and caricatures with subjects comprehensible to everyone, and also all kinds of ornaments, are universal in subject-matter. Such productions in painting and sculpture are very numerous (_e.g._ china dolls), but for the most part such objects (for instance, ornaments of all kinds) are either not considered to be art or are considered to be art of a low quality. In reality all such objects, if only they transmit a true feeling experienced by the artist and comprehensible to everyone (however insignificant it may seem to us to be) are works of real, good, Christian art.