The chief difficulty of all Revelation Doctrines has always been to discover what it is which is revealed. If these states of mind are knowledge it should be possible to state what it is that they know. It is often easy enough to find something which we can suppose to be what we know. Belief feelings, we have seen, are _parasitic_, and will attach themselves to all kinds of hosts. In literature it is especially easy to find hosts. But in music, in the non-representative arts of design, in architecture or ceramics, for example, the task of finding something to believe, or to believe in, is not so easy. Yet the ‘feeling of significance’ is as common[102] in these other arts as in literature. Denial of this is usually proof only of an interest limited to literature. This difficulty has usually been met by asserting that the alleged knowledge given in the revelation is non-intellectual. It refuses to be rationalised, it is said. Well and good; but if so why call it knowledge? Either it is capable of corroborating or of conflicting with the other things we usually call knowledge, such as the laws of thermodynamics, capable of being stated and brought into connection with what else we know; or it is not knowledge, not capable of being stated. We cannot have it both ways, and no sneers at the limitations of logic, the commonest of the resources of the confused, amend the dilemma. In fact it resembles knowledge only in being an attitude and a feeling very similar to some attitudes and feelings which may and often do accompany knowledge. But ‘Knowledge’ is an immensely potent emotive word engendering reverence towards any state of mind to which it is applied. And these ‘feelings of significance’ are those among our states of mind which most deserve to be revered. That they should be so obstinately described as knowledge even by those who most carefully remove from them all the characteristics of knowledge is not surprising. Traditionally what is said to be known thus mystically through the arts is Beauty, a remote and divine entity not otherwise to be apprehended, one of the Eternal Absolute Values. And this is doubtless emotively a way of talking which is effective for a while. When its power abates, as the power of such utterances will, there are several developments which may easily be used to revive it. “Beauty is eternal, and we may say that it is already manifest as a heavenly thing—the beauty of Nature is indeed an earnest to us of the ultimate goodness which lies behind the apparent cruelty and moral confusion of organic life. . . . Yet we feel that these three are ultimately one, and human speech bears constant witness to the universal conviction that Goodness is beautiful, that Beauty is good, that Truth is Beauty. We can hardly avoid the use of the word ‘trinity’, and if we are theists at all we cannot but say that they are one, because they are the manifestation of one God. If we are not theists there is no explanation.”[103]