No: the artistic impotence of modern civilisation is likely to prove, to judge by the first effects which are now beginning to manifest themselves, a graver phenomenon than is at present realised. The upper classes in Europe and America will not be able to go on for an indefinite length of time living with a consciousness that the world in which they find themselves is ugly, coarse, and decadent in comparison with preceding civilisations; feeling the inferiority of the present more acutely the more they study, and at the same time extending still further their sway over the world and accumulating new riches to console themselves for it. This would be a state of moral want of balance; and moral want of balance cannot continue indefinitely, just as physical want of balance cannot continue indefinitely. Either our civilisation will abate its aspirations to the level of the mediocrity which it is capable of producing in art, destroying in itself the remembrance of and regret for those ancient civilisations which created so many beautiful things; or it will have to put itself into a position to satisfy not only the æsthetic needs of the masses, but also those of the more cultured and refined strata of society. The first supposition appears improbable, or at least no man of sense will wish to consider it possible. It would mean a relapse of the world into barbarism, the end of all the traditions and all the studies which have been and still are an indispensable element of intellectual and moral refinement. So we are left with the other hypothesis, which assumes that man will make up his mind one day to make an effort to create arts of his own, which will survive comparison with those of the past. Yet the task is an arduous one. As I have already said, an art is not created or perfected without the spirit of tradition and of discipline; and the attempt in our times to re-infuse vigour into the spirit of tradition and of discipline, if only in the measure necessary for the progress of art, is an enterprise, the difficulties of which everyone can understand without a long explanation. It cannot be effected without a profound intellectual and moral reform, which will bring about a change in many things besides the originality and power of the arts which are to-day languid and decadent. So the struggle between American progress and art may well be a more important phenomenon than is at present apparent; and may well entail transformations of far-reaching extent. V BEYOND EVERY LIMIT