His mind, however, was now undergoing decided and important changes. He was becoming bolder and surer of himself. New ideals were taking the place of old ones, and in 1873 he began a series of famous pamphlets which later were put into book form under the title of "Thoughts Out of Season." His first attack was upon David Strauss; the second was directed towards the German historians of the day; the third was aimed at Schopenhauer; and the fourth was the famous panegyric, "Richard Wagner in Bayreuth." These essays, together with his work at Bâle, occupied him until 1876. Nietzsche was now suffering severely from the malady he carried to his grave, catarrh of the stomach. This was accompanied by severe headaches, and during his holidays he alternated between Switzerland and Italy in an endeavour to recover his health. In the former place he was with Wagner. In Italy, at Sorrento, he met Dr. Paul Rée, who, if we are to believe Max Nordau, was the father of all Nietzsche's ideas. Credence, however, cannot be given to this accusation, for the nucleus of all of his later ideas was undeniably contained in his writings previous to his meeting with Rée. That Rée influenced him to some small extent no one will deny, for it was he who turned the young philosopher's attention to the latter day scientists of both England and France; and it was shortly after this meeting that Nietzsche began his first independent philosophical work, "Human, All-Too-Human." It was in the year 1876 that his famous friendship with Wagner began to cool. Nietzsche had gone to Bayreuth to witness the performance of _"Der Ring des Nibelungen."_ Already he had begun to question his own high opinion of the composer, and Bayreuth solidified his doubts. It had been two years since he had seen Wagner, and after a brief conversation, Nietzsche became bitter and disgusted. When he finally went away his revulsion was complete, and one of the greatest of historic friendships was at an end. Whatever were the individual merits in the quarrel between these two great contemporaneous men, Nietzsche's attitude was at least consistent with his innermost ideals. He had admired in Wagner certain definite, revolutionary qualities, and when he was convinced, as he had every reason to be, that Wagner was compromising his art for the purpose of popularity, the ideal was broken. He could no longer remain true to himself and also to his friendship for the great composer. "Parsifal" was undoubtedly a decadent work, viewed from the standpoint of Wagner's previous performances. Decadence is simply the inability to create new tissue; and when Wagner forswore modern ideas and reverted to the past, it attested to an entire change of mental attitude: and no purely æsthetic doctrine can controvert the fact. Had Cézanne in later life essayed the painting of conventionally posed saints--no matter what his technical means might have been--his art would have contained the elements of