with all the uncounted flavours of old experience; and it is necessarily
some antiquity of thought, emotions that have been deepened by the
experiences of many men of genius, that distinguishes the cultivated
man. The subject matter of his meditation and invention is old, and he
will disdain a too conscious originality in the arts as in those matters
of daily life where, is it not Balzac who says, 'we are all
conservatives'? He is above all things well-bred, and whether he write
or paint will not desire a technique that denies or obtrudes his long
and noble descent. Corneille and Racine did not deny their masters, and
when Dante spoke of his master Virgil there was no crowing of the cock.
In their day imitation was conscious or all but conscious, and while
originality was but so much the more a part of the man himself, so much
the deeper because unconscious, no quick analysis could find out their
miracle, that needed, it may be, generations to reveal; but it is our
imitation that is unconscious and that waits the certainties of time.
The more religious the subject matter of an art, the more will it be as
it were stationary, and the more ancient will be the emotion that it
arouses and the circumstances that it calls up before our eyes. When in
the Middle Ages the pilgrim to St. Patrick's Purgatory found himself on
the lake side, he found a boat made out of a hollow tree to ferry him to
the cave of vision. In religious painting and poetry, crowns and swords
of an ancient pattern take upon themselves new meanings, and it is
impossible to separate our idea of what is noble from a mystic stair,
where not men and women, but robes, jewels, incidents, ancient utilities
float upward slowly over the all but sleeping mind, putting on emotional
and spiritual life as they ascend until they are swallowed up by some
far glory that they even were too modern and momentary to endure. All
art is dream, and what the day is done with is dreaming ripe, and what
art has moulded religion accepts, and in the end all is in the wine cup,
all is in the drunken phantasy, and the grapes begin to stammer.

THE TWO KINDS OF ASCETICISM

It is not possible to separate an emotion or a spiritual state from the
image that calls it up and gives it expression. Michael Angelo's Moses,
Velasquez' Philip the Second, the colour purple, a crucifix, call into
life an emotion or state that vanishes with them because they are its
only possible expression, and th