But I have only to say that to prove that we will not be contented with such a counsel of despair. The Romans went on producing art, even if it was bad art, and we shall certainly go on producing art whether it is good or bad. We have produced an immense mass of bad art, worse perhaps than any that the Roman world produced. But there is this difference between us and the Romans, that we are not content with it. We have the conviction of artistic sin and they had not. Therefore we do not think that their example need make us despair. They were not exercising their will on their art. It was to them what a purely conventional morality is to a morally decadent people. It went from bad to worse, just as conventional morals do, when no man arises and says: 'This is wrong, although you think it right. I know what is right from my own sense of values, and I will do it in spite of you.' So far as we know, there were no rebels of that kind in the art of the Graeco-Roman world. But our world of art is full of such rebels and has been ever since the artistic debacle at the beginning of the nineteenth century. In fact the chief and the unique characteristic of the art of the last hundred years has been the constant succession of artistic rebels. All our greatest artists have been men who were determined to exercise their own wills in their art, whatever the mass of men might think of it. And what has always happened is that they have been first bitterly abused and then passionately praised. This, so far as I know, has never happened before. There have been rebel artists like Rembrandt, but only a few of them. Most great artists before the nineteenth century have been admired in their own time. But in the nineteenth century, and more and more towards the end of it, the great artists have had to conquer the world with their rebellion, they have had to exercise their own individual wills against the common convention. And it seems to us now the mark of the great artist so to exercise his individual will, so to rebel and conquer the world with his rebellion, even if he kills himself in the process. Think of Constable and even Turner, of our pre-Raphaelites, and above all of nearly all the great French artists, of Millet, of Manet, of Cezanne, Gauguin, of Rodin himself, who has conquered the world now, but only in his old age. Think of Beethoven, of Schubert, of Wagner, and of all the rebel musicians of to-day. But in the past the great artists, Michelangelo, Titian, even the great innovator Giorgione; Mozart, Bach, Handel; none of these were thought of as rebels. They had not to conquer the world against its will. They came into the world, and the world knew them. So, we may be sure, the decadent artists of the Graeco-Roman world were not rebels. There they were like Michelangelo and Raphael, if they were like them in nothing else. If they had been rebels we might not yawn at their works now.