If, as Professor Huxley maintains, the test of progress is approximation to the ideal, then one condition of progress is that man shall be conscious, to whatever extent is necessary for the purpose, of the ideal, shall feel that the ideal of love, tenderness, compassion, justice, truth, beauty, etc., is a thing for him to strive for, an end for him to attain. To the chosen few--the great artists, the moral or religious reformer--a sense of the ideal is dealt in a larger measure than to the rest of men. By the chosen few it is manifested to the many. But it does not become the cause of progress, unless it leavens the mass, unless they too are inspired by it to do better and be better. In a word, when, or if, ever the ideal has been manifested in its fulness, it is not a fresh revelation which is necessary for progress, but fresh conviction in us and renewed determination. Indeed, so long as we do not act up to the light that we have, even an imperfect revelation of the ideal may serve for imperfect beings. So far, then, as the genius in art or science, or the reformer in religion or morals, is the cause of the progress that is made by his school, his disciples, and them that follow after, it is clear that he is the cause and not the product of evolution. It is his works or words which inspire his followers with a fresh sense of the reality of the ideal and a fresh resolve to devote their lives to the pursuit of art or the service of science. But it is only because his perfect work is felt by them, judging for themselves, to realise the ideal that it has this effect on them; and they could not judge it to approach the ideal more closely than anything known to them before, unless they had some surmise, however vague, of the ideal, with which to compare this work, perfect as it seems to them. It is not necessary to suppose that this vague surmise existed, or if it existed that it was attended to, previously: it may have been first called into existence or into notice by the contemplation of the master's work, but its presence, however evoked, is attested by the judgment that his work does come nearest to the ideal. The manifestation of the masterpiece may be the occasion of this fresh revelation of the ideal, but the revelation must be made if the work is to be judged highest and is to inspire the disciple.