Great movements are alike in their beginnings; whether they are Buddhist or Byzantine, Greek or Egyptian, Assyrian or Mexican, their primitives have two qualities in common, profundity and directness. And in their histories, so far as we may judge from the scanty records of ancient civilizations, all have a general resemblance. Always, as the sense of reality decays, the artist labours to conceal under technical proficiency the poverty of his emotional experience. For the inspired artist technique was nothing but a means; for his hungry successors it becomes an end. For the man who has little to say the manner of saying it gains consequence, and in a manner which has been elaborated into an intricate craft the greatest emotions cannot be expressed. The circle is vicious. With the exaltation and elaboration of craftsmanship expression first falls into neglect and then becomes impossible. Those who are not content to marvel at cleverness, but still ask emotion of art, must be satisfied with such as craftsmen can supply. If pictures no longer express feeling they may at least provoke it. If painting is to be a mere question of pattern-making, at least let the patterns be pretty. Sensuous beauty and cunning delineation become rivals for the throne whence expression has been ousted. So, with occasional irregularities, the path winds down the hill. Skill itself declines, and the sense of beauty runs thin. At the bottom, for what once was art--the expression of man's most holy emotions--smart tradesmen offer, at fancy prices, mechanical prettiness, cheap sentiment, and accurate representation.