A vague presentiment of the proper function of Art in regulating public festivals was shown empirically by the Revolutionists. But all their attempts in this direction proved notorious failures; a signal proof that politicians should not usurp the office of spiritual guides. The intention of a festival is to give public expression to deep and genuine feeling; spontaneousness therefore is its first condition. Hence it is a matter with which political rulers are incompetent to deal; and even the spiritual power should only act as the systematic organ of impulses which already exist. Since the decline of Catholicism we have had no festivals worthy of the name; nor can we have them until Positivism has become generally accepted. All that governments could do at present is to exhibit unmeaning and undignified shows before discordant crowds, who are themselves the only spectacles worth beholding. Indeed the usurpation of this function by government is in many cases as tyrannical as it is irrational; arbitrary formulas are often imposed, which answer to no pre-existing feeling whatever. Evidently the direction of festivals is a function which more than any other belongs exclusively to the spiritual power, since it is the spiritual power which regulates the tendencies of which these festivals are the manifestation. Here its work is essentially esthetic. A festival even in private, and still more in public life, is or should be a work of art; its purpose being to express certain feelings by voice or gesture, and to idealize them. It is the most esthetic of all functions, since it involves usually a complete combination of the four special arts, under the presidence of the primary art, Poetry. On this ground governments have in most cases been willing to waive their official authority in this matter, and to be largely guided by artistic counsel, accepting even the advice of painters and sculptors in the default of poets of real merit. The esthetic tendencies of Positivism, with regard to institutions of this kind, are sufficiently evident in the worship of Woman, spoken of in the preceding chapter, and in the worship of Humanity, of which I shall speak more particularly afterwards. From these, indeed, most Positivist festivals, private or public, will originate. But this subject has been already broached, and will be discussed in the next chapter with as much detail as the limits of this introductory work allow. While the social value of Art is thus enhanced by the importance of the work assigned to it, new and extensive fields for its operations are opened out by Positivism. Chief amongst these is History, regarded as a continuous whole; a domain at present almost untouched. [Idealization of historical types]