But they accept objective nature wholesale, or the objective world of mechanical industry. Their pæan to machinery is really a worship of a Panhard racing-car, or a workshop where guns or Teddy bears are made, and not a deliberate and reasoned enthusiasm for the possibilities that lie in this new spectacle of machinery; of the _use_ it can be put to in art. Machinery should be regarded as a new resource, as though it were a new mineral or oil, to be used and put to different uses than those for which it was originally intended. A machinery for making the parts of a 6in. Mk. 19 gun should be regarded apart from its function. Absorbed into the æsthetic consciousness it would no longer _make_ so much as a pop-gun: its function thenceforward would change, and through its agency emotions would be manufactured, related, it is true, to its primitive efficiency, shinyness, swiftness or slowness, elegance or power, but its meaning transformed. It is of exactly the same importance, and in exactly the same category, as a wave on a screen by Korin, an Odalisque of Ingres, a beetle of a sculptor of the XVIII. dynasty. Ingres lived in the midst of a great appetite for the pseudo-classic: the Egyptian sculptor lived in the presence of a great veneration for the beetle. Korin’s contemporaries possessed a high susceptibility and sentiment for the objects of the natural world. Korin’s formal wave-lines is the same impulse as Balla’s Linee Andamentali: the Beetle and the Odalisque are both sleek and solid objects! Ingres probably did not believe in the Odalisque as an Odalisque, although realising the admirable uses to which she could be put. The Egyptian probably found the beetle objectionable until transformed into stone. And there should be no obligation to supply veneration, or to behave like a religious fanatic about a sausage machine or a locomotive: other people can supply that, indeed should do so about something or other. If the world _would only build temples to Machinery_ in the abstract then everything would be perfect. The painter and sculptor would have plenty to do, and could, in complete peace and suitably honoured, pursue their trade without further trouble. Else what is the use of taking all the useful Gods and Goddesses away, and leaving the artist with no rôle in the social machine, except that of an entertainer, or a business man?