[31] Of Piero della Francesca, Muther says, _op. cit._, Vol. I, p. 97: "He created the grammar of modern painting.... Four hundred years ago he proposed the problem of realism, and endeavoured, as the forerunner of the most modern artists, to establish in what manner atmosphere changes colour impressions." Part II Greece and Egypt "The land of Egypt is before thee; in the best of the land make thy father and brethren to dwell."--Genesis xlvii. 6. 1. Greek Art. I have now spoken to you of Christian Art, and you have not been taken altogether by surprise; because, in England at least, people are not unacquainted with the fight Art has had with Puritanism. And you were, therefore, partly prepared for what I had to say. The views I have expressed concerning the Renaissance were not entirely new to you either, and, if they were, I can only hope that they will assist you in giving to the Art of that period its proper valuation. Now, however, I fear I am going to level a blow at what must seem to you even more sacred, even more invulnerable and even more thoroughly established than either Christian or Renaissance Art. I refer to the Art of Greece. Albeit, before I proceed with my task, do not be surprised if, like Charles the First's executioner, Brandon, I kneel to kiss the hand of my victim, if only by so doing I may seem to you to understand the grave nature of my business, and satisfy you that the blow I am about to deliver is prompted more by conviction than by that cheap irreverence for great things which is, alas, only too prevalent to-day. Goethe says somewhere that, if we find fault with Euripides at all we should do so on bended knees. It seems to me that this ought also to be the attitude of people and critics in this age who attempt to value what the Greeks achieved in the graphic arts. For the earnestness and vigour wherewith, collectively, they set up their triumphs and ideals in stone and marble, the moment any opportunity arose for them to affirm and exalt their type, is deserving of the utmost praise and admiration. Too many great writers have exalted the Greeks, however, to make it necessary for me to edify you with any long and enthusiastic praise of those qualities which Nietzsche admired in them. Fairness alone, therefore, compels me to acknowledge the grandeur of the type their art advocates. With Nietzsche I can but extol the yea-saying of this type to the passions, to beauty, to health, in fact to life. The fearlessness of the Greeks before beauty was their acknowledgment that life was a blessing to which it was worth while to be lured and seduced. And their innocent acceptance of the strongest passions is sufficient to show to what extent they had not only mastered them, but had also enlisted them into their service.