The mathematic, then, is an art. As such it has its styles and style periods. It is not, as the layman and the philosopher (who is in this matter a layman too) imagine, substantially unalterable, but subject like every art to unnoticed changes form epoch to epoch. The development of the great arts ought never to be treated without an (assuredly not unprofitable) side-glance at contemporary mathematics.

When the Englishman speaks of national wealth he means the number of millionaires in the country.

Christian theology is the grandmother of Bolshevism.

At last, in the gray dawn of Civilization the fire in the Soul dies down. The dwindling powers rise to one more, half-successful, effort of creation, and produce the Classicism that is common to all dying Cultures. The soul thinks once again, and in Romanticism looks back piteously to its childhood; then finally, weary, reluctant, cold, it loses its desire to be, and, as in Imperial Rome, wishes itself out of the overlong daylight and back in the darkness of protomysticism in the womb of the mother in the grave.

The last man of the world-city no longer wants to live--he may cling to life as an individual, but as a type, as an aggregate, no, for it is a characteristic of this collective existence that it eliminates the terror of death.

Man makes history; woman is history. The reproduction of the species is feminine: it runs steadily and quietly through all species, animal or human, through all short-lived cultures. It is primary, unchanging, everlasting, maternal, plantlike, and cultureless. If we look back we find that it is synonymous with life itself.

All world-improvers are Socialists. And consequently there are no Classical world-improvers.