Note 189 — Chapter V

Das Kunstwerk der Zukunft, p. 169: ‘It is only when the desire of the artistic sculptor has passed into the soul of the dancer, of the mimic interpreter, of him who sings and speaks, that this desire can be conceived as satisfied. It is only when the art of sculpture no longer exists, or has followed another tendency than that of representing human bodies—when it has passed, as sculpture, into architecture—when the rigid solitude of this one man carved in stone will have been resolved into the infinitely flowing plurality of veritable, living men ... it is only then, too, that real plastic will exist.’ And on p. 182: ‘That which it [painting] honestly exerts itself to attain, it attains in ... greatest perfection ... when it descends from canvas and chalk to ascend to the tragic stage.... But landscape-painting will become, as the last and most finished conclusion of all the fine arts, the life-giving soul, properly speaking, of architecture; it will teach us thus to organize the stage for works of the dramatic art of the future, in which, itself living, it will represent the warm background of nature for the use of the living, and not for the imitated man.’