242 THE SCIENCE OF POWER 



been contemporaneous with the development in 

 Germany of the intellectual and military standards 

 described in previous chapters. A recent writer, 1 

 describing the remarkable effects to be witnessed 

 in a view of the Schlossbruecke and Museum at 

 Berlin, recapitulates the enormous number of 

 groups and the attitudes portrayed. " To crown 

 everything," he continues, " and to introduce 

 strikingly the Prussian symbol, above the plinth 

 of the main entrance of the Museum are no fewer 

 than eighteen representations of the Prussian eagle. 

 Thus, on a space of ground represented by a frontage 

 of what cannot be much more than fifty yards, 

 there are to be seen no fewer than forty-nine 

 classical representations in stone of one attribute 

 or personality and another." The dominant aim 

 in all the effects, whether represented thus or on 

 a less ambitious scale, scarcely ever varies. Ex- 

 pressed in sculpture in all its forms in the West, 

 this aim is to typify the self-regarding emotions and 

 to portray them triumphing in the most perfect 

 living instruments of force. 



In the sister art of painting, the underlying 

 influence is not so visible at first sight. But the 

 discriminating mind soon perceives that the in- 



1 F. M. Hueffer, When Blood is their Argument, Part III. 

 chap. i. vi. 



