Again, the Emperor says that in classical art there reigns an eternal law, the "law of beauty and harmony, of the aesthetic" which is expressed in a "thoroughly complete form" by the ancients. It is admittedly a delightful and admirable form, but is it thoroughly complete? Is it the last and only form; and may not the very same law be found by experiment to be at work in future art that cannot be called classical, as it was found to be at work in the various noble schools since classical times? One must agree with the Emperor that the Greeks and Romans illustrated the "law of beauty and harmony, of the esthetic, in a wonderful manner." But it was wonderfully done for their age and intellect. They did not exhaust the beautiful and harmonious: far from it. Neither the world nor mankind has been standing still ever since; certainly the mind of man has not, even though his senses have undergone no elemental change. Paganism was succeeded by Christianity, and with Christianity came a new art canon, new forms of beauty and harmony--the Early Italian. The age of reason followed, bringing with it the Baroque and Rococo canons: and as time went on, and the world's mind kept working, came other canons still. The most recent canon appears to be that of naturalism (the Emperor's "gutter ") with which artists are now experimentalizing. None of the canons, be it noticed, destroyed the canon that preceded, because beauty and harmony are indestructible and imperishable. "A thing of beauty is a joy for ever." But not only the mind of man kept changing: the world itself and its civilization--by war, by treaty, by science, by invention, by art itself--kept changing, and is changing now. Development, physical as well as social, has been constant, and the changes accompanying it have inspired, and are inspiring, artists with new ideas to which they are always trying to give expression. The subjects of art have enormously multiplied. Those introduced by sport of all kinds, by the development of the theatre, by the newly-found effects of light and colour, need only be mentioned as examples capable of suggesting beauties and harmonies unknown to and unsuspected by the ancients. Hence, in addition to the classical art of the day, there is room for the "new art," the secessionist, the futurist, the impressionist, even the cubist, or whatever the experimental movement may call itself. And any day any of these movements may lead to the establishment of a new and admirable school of genuine art as beautiful as the classical, if in a different manner. The world has no idea of the surprises in all directions yet in store for it.