th his unerring perception, soon
found that this was the axis on which the entire knowledge of art
revolves. He confined himself at first to the most sublime works, which
he intended to present in a treatise, _Concerning the Style of Sculpture
in the Age of Phidias_, but he soon rose above these details to the idea
of a history of art, and discovered a new Columbus, a land long
surmised, hinted at and discussed--yea, a land, we might say, that had
formerly been known and forgotten.

It is sad to observe how at first through the Romans, afterward through
the invasion of northern peoples, and the confusion arising in
consequence, mankind came into such a state that all true and pure
culture was for a long time retarded in its development, indeed was
almost made impossible for the entire future. In any field of art and
science that we may contemplate, a direct and unerring perception had
already revealed much to the ancient investigator which, during the
barbarism which followed, and through the barbaric manner of escaping
from barbarism, became and remained a secret; which it will long
continue to be for the masses, because the general progress of higher
culture in modern times is but slow. This remark does not apply to
technical progress, of which mankind happily makes use without asking
questions as to whence it comes and whither it leads.

We are impelled to this observation by certain passages of ancient
authors, in which anticipations, even indications, of a possible and
necessary history of art appear. Velleius Paterculus observes with great
interest, the coincidence in the rise and fall of all the arts. As a man
of the world, he was especially concerned with the observation that they
could be maintained only for a short time at the highest point which it
was possible for them to reach.

From his standpoint he could not regard all arts as a living entity
[Greek: (psoon)], which must necessarily reveal an imperceptible
beginning, a slow growth, a short and brilliant period of perfection,
and a gradual decline--like every other organic being, except that it is
manifested in a number of individuals. He therefore assigns only moral
causes, which certainly must be included as contributory, but hardly
satisfy his own great sagacity, because he probably feels that a
necessity here exists which cannot be compounded out of detached
elements.

"That the grammarians, painters and sculptors fared as did also the
orators, e