A serious defect in most modern art movements is that they start from art; they are modifications of previous art movements. True art movements start from human nature. When perfection in any art is standardized, when tradition and conventionality prevail, and the artist has originality enough to chafe at the restraints of classicism but not originality enough to reveal finer ideals through classic expression, his temptation is to rebel at conventionalities and to deem himself original because he is unconventional. He wishes to be different from other artists and seeks for the difference by discarding the traditional medium rather than by improving his own personal message. He prefers to be different and even original by cutting his ginger-bread into the shape of automobiles and air-planes instead of going back to mother’s classic make and blending his ingredients into a new creation, a creation which will make fresh appeal even in former animal shapes or in the traditional ginger-bread cart-wheels. Art is a social institution. If not by the people, art is of the people, and certainly for the people. When Greek literary art grew conventional in its different forms, the artists went back to the people for another medium to be transfigured by art. Ruskin has called architecture a “glorified roof.” The sonata is a glorified folk melody; epic is glorified folk lore; and Greek drama is a glorified folk song, as Elizabethan drama is a glorified folk chronicle. Both dramas have their roots in the religious services of the people. Homer told us about the public he had, but the nineteenth century would not trust his word until Schliemann dug up the great halls where Demodokos and his fellows told the people their own folk stories in a glorified, artistic form. Greek lyric and Greek pastoral were as public as Greek oratory, Greek choruses, temples and statuary. It was left for Roman conquerors to begin the segregation of art into the cold storage of the modern millionaire and of the modern museum.