In this connection attention must be drawn once again to the want of courage displayed by one section of our people, namely, by those who, in virtue of their education and position, ought to have felt themselves obliged to take up a firm stand against this outrage on our culture. But they refrained from offering serious resistance and surrendered to what they considered the inevitable. This abdication of theirs was due, however, to sheer funk lest the apostles of Bolshevist art might raise a rumpus; for those apostles always violently attacked everyone who was not ready to recognize them as the choice spirits of artistic creation, and they tried to strangle all opposition by saying that it was the product of philistine and backwater minds. People trembled in fear lest they might be accused by these yahoos and swindlers of lacking artistic

appreciation, as if it would have been a disgrace not to be able to understand and appreciate the effusions of those mental degenerates or arrant rogues. Those cultural disciples, however, had a very simple way of presenting their own effusions as works of the highest quality. They offered incomprehensible and manifestly crazy productions to their amazed contemporaries as what they called 'an inner experience'. Thus they forestalled all adverse criticism at very little cost indeed. Of course nobody ever doubted that there could have been inner experiences like that, but some doubt ought to have arisen as to whether or not there was any justification for exposing these hallucinations of psychopaths or criminals to the sane portion of human society. The works produced by a Moritz von Schwind or a Böcklin were also externalizations

of an inner experience, but these were the experiences of divinely gifted artists and not of buffoons.

This situation afforded a good opportunity of studying the miserable cowardliness of our so-called intellectuals who shirked the duty of offering serious resistance to the poisoning of the sound instincts of our people. They left it to the people themselves to formulate their own attitude towards his impudent nonsense. Lest they might be considered as understanding nothing of art, they accepted every caricature of art, until they finally lost the power of judging what is really good or bad.

Taken all in all, there were superabundant symptoms to show that a diseased epoch had begun.

Still another critical symptom has to be considered. In the course of the nineteenth century our towns and cities began more and more to lose their character as centres of civilization and became more and more centres of habitation. In our great modern cities the proletariat does not show much attachment to the place where it lives. This feeling results from the fact that their dwelling-place is nothing but an accidental abode, and that feeling is also partly due to the frequent change of residence which is forced upon them by social conditions. There is no time for the growth of any attachment to the town in which they live. But another reason lies in the cultural barrenness and superficiality of our modern cities. At the time of the German Wars of Liberation our German towns and cities were not only small in number but

meaningless place. Nobody can grow attached to a place which offers only just as much or as little as any other place would offer, which has no character of its own and where obviously pains have been taken to avoid everything that might have any resemblance to an artistic appearance.