So, though genius is born, it is also made, and though nations differ in artistic capacity, they all have some artistic capacity so long as they know what they like and express only their own liking in their art, so long as they are not infected with artistic snobbism or commercialism. This we know now, and we have developed a new and remarkable power of seeing and enjoying all the genuine art of the past. This power is part of the historical sense which is itself modern. In the past, until the nineteenth century, very few people could see any beauty or meaning in any art of the past that did not resemble the art of their own time and country. The whole art of the Middle Ages, for instance, was thought to be merely barbarous until the Gothic revival, and so was the art of all the past so far as it was known, except the later art of Greece and Rome. For our ancestors' taste did indeed happen as art happened, and they could not escape from the taste which circumstances imposed on them; any art that was not according to that taste was for them as it were in an unknown tongue. But we have made this great progress in taste, at least, if not in the production of art, that we can understand nearly all artistic languages, and that what used to be called classical art has lost its old superstitious prestige for us. Not only can we enjoy the art of our own Middle Ages; but many of us can enjoy and understand just as well the great art of Egypt and China, and can see as clearly when that art is good or bad as if it were of our own time. We have, in fact, in the matter of artistic appreciation gained the freedom of all the ages, and this is a thing that has never, so far as we know, happened before in the history of the human mind. But still this freedom of all the ages has not enabled us to produce a great art of our own. There are some, indeed, who think that it has hindered us from doing so, that we are becoming merely universal connoisseurs who can criticize anything and produce nothing. We have the most wonderful museums that ever were, and the most wonderful power of enjoying all that is in them, but, with all our riches from the past, our present is barren; and it is barren because our rich men would rather pay great prices for past treasures than encourage artists to produce masterpieces now. If that is so, if that is all that is coming to us from our freedom of all the ages, there is certainly not progress in it. Better that we should produce and enjoy the humblest genuine art of our own than that we should continue in this learned impotence.