But what shall I say of art and poetry? Here to be just, praise must become panegyric. Let us limit ourselves to indicating the general tendency of the transformations that have taken place. I have related what has become of our architecture which has been turned "outside in", so to say, and brought into keeping with its surroundings, the idealised image in stone, the essence and consummation of former Nature. I shall not return to the subject. But I must still say a word about this immortal and overflowing population of statues, this wealth of frescoes, enamels, and bronzes which in concert with our poetry celebrate in this architectural transfiguration of the nether world the apotheosis of love. There would be an interesting study to make on the gradual metamorphoses that the genius of our painters and sculptors has imposed for the last three centuries on these traditional types of lions, horses, tigers, birds, trees and flowers, with which it is never weary of disporting itself, without being either helped or hindered by the sight of any animal or any plant. Never, in fact, have our artists, who protest strongly against being taken for photographers, depicted so many plants, animals and landscapes, than since these were no more. Similarly, they have never painted or sculptured so many draperies, since everyone goes about almost naked, while formerly at the time when humanity wore clothes the nude abounded in art. Does it mean that nature, now dead and formerly alive, from which our great masters drew their subjects and themes, has become a simple hieroglyphic and coldly conventional alphabet? No. Daughter to-day of tradition and no longer of productive nature, humanised and harmonised, she has a still firmer hold on the heart. If she recalls to each his day-dreams rather than his recollections, his imaginings rather than his impressions, his admiration as an artist rather than his terror as a child, she is only the better calculated to fascinate and subdue. She has for us the profound and intimate charm of an old legend, but it is a legend in which one believes.
Nothing is more inspiring. Such must have been the mythology of the worthy Homer when his hearers in the Cyclades still believed in Aphrodite and Pallas, in the Dioscuri and the Centaurs, of whom he spoke to them and wrung from them tears of sheer delight. Thus our poets make us weep, when they speak to us now of azure skies, of the sea-girt horizon, of the perfume of roses, of the song of birds, of all those objects that our eye has never seen, our ear has never heard, of which all our senses are ignorant, yet our mind conjures them up within us by a strange instinct at the least suggestion of love.