In Asia, the conceptions of God were of a being who was either too arbitrary or too impersonal for such ideas to have much effect on instinctive habits of mind. Any definite occurrence might be due to the fiat of an irrational despot, or might issue from some impersonal, inscrutable origin of things. There was not the same confidence as in the intelligible rationality of a personal being. I am not arguing that the European trust in the scrutability of nature was logically justified even by its own theology. My only point is to understand how it arose. My explanation is that the faith in the possibility of science, generated antecedently to the development of modern scientific theory, is an unconscious derivative from medieval theology. But science is not merely the outcome of instinctive faith. It also requires an active interest in the simple occurrences of life for their own sake. This qualification ‘for their own sake’ is important. The first phase of the Middle Ages was an age of symbolism. It was an age of vast ideas, and of primitive technique. There was little to be done with nature, except to coin a hard living from it. But there were realms of thought to be explored, realms of philosophy and realms of theology. Primitive art could symbolise those ideas which filled all thoughtful minds. The first phase of medieval art has a haunting charm beyond compare: its own intrinsic quality is enhanced by the fact that its message, which stretched beyond art’s own self-justification of aesthetic achievement, was the symbolism of things lying behind nature itself. In this symbolic phase, medieval art energised in nature as its medium, but pointed to another world.