But though the influence came through many centres, it always came from one. It came through the Romantic Movement, a glimpse of the mere picturesqueness of mediævalism; but it is something more than an accident that Romances, like Romance languages, are named after Rome. Or it came through the instinctive reaction of old-fashioned people like Johnson or Scott or Cobbett, wishing to save old elements that had originally been Catholic against a progress that was merely Capitalist. But it led them to denounce that Capitalist progress and become, like Cobbett, practical foes of Protestantism without being practising followers of Catholicism. Or it came from the Pre-Raphaelites or the opening of continental art and culture by Matthew Arnold and Morris and Ruskin and the rest. But examine the actual make-up of the mind of a good Quaker or Congregational minister at this moment, and compare it with the mind of such a dissenter in the Little Bethel before such culture came. And you will see how much of his health and happiness he owes to Ruskin and what Ruskin owed to Giotto; to Morris and what Morris owed to Chaucer; to fine scholars of his own school like Philip Wicksteed, and what they owe to Dante and St. Thomas. Such a man will still sometimes talk of the Middle Ages as the Dark Ages. But the Dark Ages have improved the wallpaper on his wall and the dress on his wife and all the whole dingy and vulgar life which he lived in the days of Stiggins and Brother Tadger. For he also is a Christian and lives only by the life of Christendom.