In conclusion let me sum up the contents of this long chapter. We have seen that there are two main streams of motive and point of view; the _idealistic_ and the _naturalistic_. The former flows from the artist’s desire to represent his conception of ideal beauty, the latter from his love of nature. We have seen that they have alternately reached their highest flood, because the conditions of the times supplied a great public need to which each in turn responded. Lastly, we have seen that gradually both tendencies have undergone a change. Whereas originally both the naturalistic and the idealistic motive were concerned with form, they came to be concerned particularly with light.