thing kept him away from the investigation of the psychic life of men; there was little room for psychology in the “Academia Vinciana,” for which he drew very artistic and very complicated emblems.
When he later made the effort to return from his investigations to the art from which he started he felt that he was disturbed by the new paths of his interest and by the changed nature of his psychic work. In the picture he was interested above all in a problem, and behind this one he saw emerging numerous other problems just as he was accustomed in the endless and indeterminable investigations of natural history. He was no longer able to limit his demands, to isolate the work of art, and to tear it out from that great connection of which he knew it formed part. After the most exhausting efforts to bring to expression all that was in him, all that was connected with it in his thoughts, he was forced to leave it unfinished, or to declare it incomplete.
The artist had once taken into his service
Herzfeld's interesting introduction (Jena, 1906) to the essays of the Conferenze Fiorentine, 1910, and elsewhere.
