Concerning the Spiritual in Art

guage which is peculiarly their own. Despite, or perhaps thanks to, the differences between them, there has never been

hey are obeying Socrates' command-Know thyself. Consciously or unconsciously artists are studying and proving their ma

ic the best teacher. With few exceptions music has been for some centuries the art which has devoted itself no

which music, the most non-material of the arts today, achieves this end. He naturally seeks to apply the methods of music to his own art. And from this

undamental. One art must learn first how another uses its methods, so that the methods may afterwards be applied to the borrower's art from the begi

its disposal duration of time; while painting can present to the spectator the whole content of its message at one moment. [Footnote: These statements of difference are, of course, rela

ses, of household duties, makes an excellent music hall turn and is amusing enough. But in serious music such attempts are merely warnings against any imitation of nature. Nature has her own language, and a powerful one; this language cannot be

and phenomena. Her business is now to test her strength and methods, to know herself

the art that is truly monumental. Every man who steeps himself in the spiritual possibilities of his

: ABOUT