Each overview, whether monistic like van der Leeuw’s or dualistic like Bazin’s, holds that the spiritual quality in art suffered its decline at the expense of “realism,” the duplication of either external or internal reality. Art has always been excited by the challenge of realism: the bison came off the walls and became sculptures, the sculptures became photographs, the photographs moved. Eventually the artist, in his desire to imitate life, attempted to reproduce physical existence itself, not like the Greeks just to portray the highest sensual form. Victor Frankenstein’s mad dream was a Gothic extension of a dream shared by many artists of his age: to artificially recreate human life and its external surroundings. The urge to duplicate the external world was accompanied by an urge to duplicate the internal world. The romantic artist scrutinized and dutifully recorded his own feelings; he was accountable to no other reality than his own. The myth of the “artist personality” came into full bloom, resulting in both the psychological picturesque and impression, romantic verse and the psychological novel. Sypher has noted the similarities in nineteenth-century realism and romanticism; the romantic work of art, though verging on total fantasy, was only realism turned outside in.6