But the years pass, and the progress of science itself, especially the sciences of the mind, has upset this distinction. The analysis of “knowing” showed that it was not such a merely passive and receptive method of recognising “truth” as scientists had innocently supposed. This is probably admitted now by the Realists among philosophers as well as by the Idealists. Dr. Charles Singer, perhaps our most learned historian of science, now defines science, no longer as a body of organized knowledge, but as “the process which makes knowledge,” as “knowledge in the making”; that is to say, “the growing edge between the unknown and the known.”[27] As soon as we thus regard it, as a _making_ process, it becomes one with art. Even physical science is perpetually laying aside the “facts” which it thought it knew, and learning to replace them by other “facts” which it comes to know as more satisfactory in presenting an intelligible view of the world. The analysis of “knowing” shows that this is not only a legitimate but an inevitable process. Such a process is active and creative. It clearly partakes at least as much of the nature of “doing” as of “knowing.” It involves qualities which on another plane, sometimes indeed on the same plane, are essentially those involved in doing. The craftsman who moulds conceptions with his mind cannot be put in a fundamentally different class from the craftsman who moulds conceptions with his hand, any more than the poet can be put in a totally different class from the painter. It is no longer possible to deny that science is of the nature of art.