“But are you not struck by the fact that during the last twenty years it has been in Germany, above all, that your innovators have gained appreciation; that many of them have had to secure their first celebrity in the foreign world, before they were enabled to harvest in France the fruits of a restricted glory, admired in their own homes solely by a group of cosmopolitan epicures? Are you not astonished that such a man as Van de Velde, who vegetated in Paris, should build palaces for our great manufacturers; and that Maillol, the sculptor, a most typical Frenchman, should find a place of honour in our museums while in France he is still almost unknown? Is this neglect deliberate? Is it because you are convinced that genius cannot flower to perfection until it has suffered, that you provide this chill atmosphere for your best artists? Or is it timidity, unwillingness to take risks, stupidity, provincialism? Whatever the reason, the air of France is to-day less favourable to creation than the air of Germany.
“In Germany there is an extensive public which lives upon the hope of a new ‘culture.’ This public has nothing in common with the pangermanists. It includes few generals and few leaders of the bureaucracy. But it contains our best men of letters and some of our principal bourgeois, in a word, the general staff of wealthy, liberal, and parliamentary young Germany. There are some, like Stephan Georg, Wolfskehl, and Madame Osthaus, in whom this hope assumes an ardent and mystical character, becoming a true religion. While it is the fashion in Paris, at least so we are assured, to be frankly reactionary,[6] here all the men and all the women who wield the empire of mind are animated by a quasi-messianic spirit. Is it possible that Nietzsche, with his idea of the revaluation of values, has contributed to the spread of this spirit? I do not know. We wait; we aspire; we hope. To us to-morrow is sacred. Every one is striving towards forms of life and art which shall be more ample, more truthful, more expressive, more beautiful. Every one is making ready to welcome the wonderful butterfly which is to spring from this larval age. It is with us a matter of faith that the men will come, that they are now on the way, who can provide the artillery and the watchwords of the new civilization.
“I frequently visit Paris to attend the great sales; I am well acquainted with the superior smiles with which many of your critics greet our attempts. They make fun of the curved outlines of our ‘Jugend’ buildings. For my part, I detest that style of architecture as much as they. Are we not now demolishing a theatre built after this design, although the mortar is hardly dry? But it is possible for us to destroy our architectural abortions. In Germany you can get money, all the money you require, for an artistic purpose. Can you do the same in France? Can you make sacrifices to an ideal incorporated in stone? No, you have too little faith. You believe in your bankers, not in your artists. You venture nothing in art; we hazard all, boldly running the risk of making a mistake. And, by building, we learn to build.
“Ten years ago we were making bad attempts; to-day we have discovered a system of architecture appropriate to modern requirements and at the same time beautiful. Go and look at the Weltheim in Berlin, M. Osthaus’s home at Hagen, the new station at Hamburg. When you are in Hamburg get M. Schumacher, chief architect of the republic, to show you the plans of the magnificent public garden he has just designed, which is to cost fifteen million marks.
“Here money is the ally of art, the living art of to-day, the ally of artistic creation, whereas in your country money, more prudent, devotes itself only to the purchase of antique and catalogued beauty. I believe, in fact, that France lacks Medicis, whilst Germany possesses them in abundance. The reason is obvious. The wealthier members of our bourgeoisie are uneasy and discontented; they desire a true parliament which will enable them to get the better of the junkers; it is their nature to be progressive. Your bourgeoisie, on the other hand, has triumphed, and, since it has nothing more to desire, it is natural that it should dread novelty in philosophy and art no less than in politics. I know that what I am saying runs counter to all your hopes. But you can do nothing to change your destiny in this matter. France has entered the conservative phase; we are now the creators; we, henceforward, shall be the true successors of your masters.”
Thus everywhere was to be heard the same refrain: the future lies in the hands of Germany! Germany is the Messiah of the new art; the Messiah of the socialist city; the Messiah of modern thought; the Messiah of the new classic age. She is the successor of aged France. It is she who will realize what the last of the great Frenchmen have dreamed.
In all these young men, the élite of the German nation, there was effervescing a strange force, there was surging an ardent and emotional nationalism, a veritable religion of German primacy. They considered that primacy inevitable. It originated spontaneously; its increase was dependent upon organic growth; and no accident, whether in war or peace, could either hasten or hinder it. They were all radiating hope; they all had faith in the present, a warm vintage yielding a thick and heady must, of intoxicating aroma, and whence will be derived a robust wine for the peoples to drink.
They were sincere when they spoke of peace. Doubtless their idealist ambition was transformed into a materialist and brutal ambition among men of business, officers, and bureaucrats. For these latter, German production was to ruin that of England, the German will was to control the foreign chancelleries. But such ends cannot be secured without war.
Or they could be secured without war, only if Europe made up her mind to submit! Only if the English merchants were good enough to go bankrupt! Only if the greater Slavs should offer no objection to the enslavement of their little brothers on the Drina! Thus while the young liberals were dreaming of a pacific hegemony, Krupp was making his 420 millimetre guns, sergeants were teaching recruits to fear their officers as they feared God, and Berlin was fashioning new military laws which even the socialists, after some formal resistance, voted integrally.