While the authors, however, write on the assumption that their readers either have seen the works, or will see them in the future, yet they hope to do everything in their power for those who are in neither case.  We shall mention reproductions, shall indicate where casts of antique works of art and antique works themselves are accessible, particularly to Germans; and thus try, as far as we can, to minister to the genuine love and knowledge of art.

A history of art can be based only upon the highest and most detailed comprehension of art; only when one knows the finest things that man can produce can one trace the psychological and chronological course taken in art, as in other fields.  This course began with a limited activity, busied about a dry and even gloomy imitation of the insignificant as well as the significant, whence developed a more amiable, more kindly feeling toward Nature, till finally, under favorable circumstances, accompanied by knowledge, regularity, seriousness, and severity, art rose to its height.  There at last it became possible for the fortunate genius, surrounded by all these auxiliaries, to produce the charming and the complete.

Unfortunately, however, works of art with such ease of expression, which instil into man cheerfulness, freedom, and a pleasant feeling of his own personality, arouse in the striving artist the idea that the process of production is also agreeable.  Since the pinnacle of what art and genius produce is an appearance of ease, the artists who come after are tempted to make things easy for themselves, and to work for the sake of appearances.  Thus art gradually declines from its high position, as to the whole as well as details.  But if we wish to gain a fair conception, we must come down to details of details, an occupation not always agreeable or charming, but by and by richly rewarded with a more certain view of the whole.

If the experience of observing ancient and mediaeval works of art has shown us that certain maxims hold good we need these most of all in judging the most recent modern productions; for, since personal relations, love and hatred of individuals, favor or disfavor of the multitude so easily enter into the valuation of living or recently deceased artists, we are in all the more need of principles in order to pass judgment on our contemporaries.  The inquiry can be conducted in two ways:  by diminishing the influence of caprice; by bringing the question before a higher tribunal.  The principle can be tested as well as its application; and even if we should not agree, the point in dispute can still be definitely and clearly pointed out.