That was what happened at the beginning of the nineteenth century in nearly all the arts and especially in the arts of use. It had happened before in different ages and countries, especially in painting, sculpture, architecture, and the arts of use as they were patronized by the vulgar rich, such as the court of Louis XV. But now it happened suddenly and universally to all arts. There were no longer vulgar rich only but also vulgar poor and vulgar middle-classes. Everywhere there spread a kind of aesthetic snobbery which obscured real tastes. Of this I will give one simple and homely example. The beautiful flowers of the cottage garden were no longer grown in the gardens of the well-to-do, because they were the flowers of the poor. Instead were grown lobelias, geraniums, and calceolarias, combined in a hideous mixture, not because any one thought them more beautiful, but because, since they were grown in green-houses, they implied the possession of green-houses and so of wealth. They did not, of course, even do that, since they could be bought very cheaply from nurserymen. They implied only the bad taste of snobbery which is the absence of all real taste. For it is physically impossible for any one to like such a combination of plants better than larkspurs and lilies and roses. What they did enjoy was not the flowers themselves but their association with gentility. But so strong was the contagion of this association that cottagers themselves began to throw away their beautiful cottage-garden flowers and to grow these plants, so detestable in combination. And to this day one can see often in cottage gardens pathetic imitations of a taste that never was real and which now is discredited among the rich, so that a border of lobelias, calceolarias, and geraniums has become a mark of social inferiority as it was once one of social superiority. But what it never was and never could be was an expression of a genuine liking.