philosophy, science, even statecraft and law. Here all the main elements of Riegl's mature conception of the Kunstwollen are clearly expressed: its active nature, through which art becomes, not the imitation of reality, but the expression of a desired reality; its historical contingency; and its relation to other elements of "worldview." By means of this theoretical apparatus, Riegl could claim to penetrate to the essence of a culture or an era through formal analysis of the art that it produced. Riegl's final completed monograph, Das holländische Gruppenporträt (The group portraiture of Holland) (1902), focused on the Dutch baroque, and represented yet another shift in method. Here Riegl began to develop a theory of "attentiveness" to describe the relationship between the viewer of a work of art and the work itself. Riegl died from cancer three years later, at the age of 47. Legacy Many of Riegl's unfinished works were published after his death, including Die Entstehung der Barockkunst in Rom (The development of Baroque art in Rome) and the Historische Grammatik der bildenden Künste (Historical grammar of the visual arts). Riegl had a robust following in Vienna, and certain of his students (the so-called Second Vienna School) attempted to develop his theories into a comprehensive art-historical method. In certain cases, such as that of the controversial Hans Sedlmayr, this led to unrestrained formalism. As a result, Riegl's stock declined, particularly in the American academy, and iconography was seen as a more responsible method. Riegl's Stilfragen remained influential throughout the twentieth century. Its terminology was introduced to English-language scholarship in particular by Paul Jacobsthal's work on Celtic art. Ernst Gombrich drew heavily on the Stilfragen, which he called "the one great book ever written about the history of ornament", in his own study of The sense of order. At the turn of the twentieth century, Riegl had a significant impact on Otto Rank's seminal work, Art and Artist. Rank recognized the will-to-art as parallel to an idea he had been developing on creative urge and personality development. Riegl's work allowed Rank to apply the general problem of will to artistic expression across cultures where Rank found consistency for the individual will in a social ideology. Primitive, "ornamental" art, for example, uniquely represents a social belief in the abstract soul, and does not represent a lack of naturalism; it is an accurate presentation of the abstract in concrete form. Rank follows the