About sixty years ago a political collapse such as we are experiencing to-day would have been just as inconceivable as the cultural decline which has been manifested in cubist and futurist pictures ever since 1900. Sixty years ago an exhibition of so-called dadistic 'experiences' would have been an absolutely preposterous idea. The organizers of such an exhibition would then have been certified for the lunatic asylum, whereas, to-day they are appointed presidents of art societies. At that time such an epidemic would never have been allowed to spread. Public opinion would not have tolerated it, and the Government would not have remained silent; for it is the duty of a Government to save its people from being stampeded into such intellectual madness. But intellectual madness would have resulted from a development that followed the

In almost all the various fields of German art and culture those morbid phenomena may be observed. Here everything seems to have passed the culminating point of its excellence and to have entered the curve of a hasty decline. At the beginning of the century the theatres seemed already degenerating and ceasing to be cultural factors, except the Court theatres, which opposed this prostitution of the national art. With these exceptions, and also a few other decent institutions, the plays produced on the stage were of such a nature that the people would have benefited by not visiting them at all. A sad symptom of decline was manifested by the fact that in the case of many 'art centres' the sign was posted on the entrance doors: FOR ADULTS ONLY.

Let it be borne in mind that these precautions had to be taken in regard to institutions whose main purpose should have been to promote the education of the youth and not merely to provide amusement for sophisticated adults. What would the great dramatists of other times have said of such measures and, above all, of the conditions which made these measures necessary? How exasperated Schiller would have been, and how Goethe would have turned away in disgust!

But what are Schiller, Goethe and Shakespeare when confronted with the heroes of our modern German literature? Old and frowsy and outmoded and finished. For it was typical of this epoch that not only were its own products bad but that the authors of such products and their backers reviled everything that had really been great in the past. This is a phenomenon that is very characteristic of such epochs. The more vile and miserable are the men and products of an epoch, the more they will hate and denigrate the ideal achievements of former generations. What these people would like best would be completely to destroy every vestige of the past, in order to do away with that sole standard of comparison which prevents their own daubs from being looked upon as art. Therefore the more lamentable and wretched are the products of each new era, the

more it will try to obliterate all the memorials of the past. But any real innovation that is for the benefit of mankind can always face comparison with the best of what has gone before; and frequently it happens that those monuments of the past guarantee the acceptance of those modern productions. There is no fear that modern productions of real worth will look pale and worthless beside the monuments of the past. What is contributed to the general treasury of human culture often fulfils a part that is necessary in order to keep the memory of old achievements alive, because this memory alone is the standard whereby our own works are properly appreciated. Only those who have nothing of value to give to the world will oppose everything that already exists and would have it destroyed at all costs.