Now, clearly, this rebellion is not so good a thing as the harmony between the artist and his public which has prevailed in all great ages of art. But it is better than the harmony of dull and complacent convention which prevailed in the Graeco-Roman decadence. For it means that our artists are not content with such complacence, that they will not accept decadence as an inevitable process. And the fact that we do passionately admire them for their rebellion as soon as we understand what it means, that this rebellion seems to us a glorious and heroic thing, is a proof that we, the public, also are not content to sink into the Graeco-Roman complacency. We may stone our prophets at first, but like the Hebrews, we produce prophets as well as priests, that is to say academicians. And we treasure their works as the Hebrews treasured the books of the prophets. Art, in fact, is a human activity in which we try to exercise our wills. We are aware that it is threatened with decadence by the mere process of our civilization, that it is much more difficult for us to produce living art than it was for our forefathers of the Middle Ages. But still we are not content to produce dead art. Half unconsciously we are making the effort to exercise our wills upon our art, as upon our science, our morals, our politics, to avoid decadence in art as we try to avoid it in other human activities; and this effort is the great experiment, the peculiar feature, of the art of the last century. It is an effort not merely aesthetic but also intellectual. There is a great interest in aesthetics and a constant and growing effort to charge them with actual experience and to put them to some practical end. In the past they have been the most backward, the most futile and barren, kind of philosophy because men wrote about them who had never really experienced works of art and who saw no connexion between their philosophy and the production of works of art. They talked about the nature of the beautiful, as schoolmen talked about the nature of God. And they knew no more about the nature of the beautiful from their own experience of it than schoolmen knew about the nature of God. But now men are interested in the beautiful because they miss it so much in the present works of men and because they so passionately desire it; and their speculation has the aim of recovering it. So aesthetics, whatever some artists in their peculiar and pontifical narrowness may say, is of great importance now; they are part of the effort which the modern world is making to exercise its will in the production of works of art, and they are bound, if that effort is successful, to have more and more effect upon that production.