Anyhow the fall of Jerusalem, and in that sense the failure of the Crusades, had a widespread effect, as I should myself suggest, for the reason I have myself suggested. Because it had been a popular movement, it was a popular disappointment; and because it had been a popular movement, its ideal was an image; a particular picture in the imagination. For poor men are almost always particularists; and nobody has ever seen such a thing as a mob of pantheists. I have seen in some of that lost literature of the old guilds, which is now everywhere coming to light, a list of the stage properties required for some village play, one of those popular plays acted by the medieval trades unions, for which the guild of the shipwrights would build Noah's Ark or the guild of the barbers provide golden wigs for the haloes of the Twelve Apostles. The list of those crude pieces of stage furniture had a curious colour of poetry about it, like the impromptu apparatus of a nursery charade; a cloud, an idol with a club, and notably among the rest, the walls and towers of Jerusalem. I can imagine them patiently painted and gilded as a special feature, like the two tubs of Mr. Vincent Crummles. But I can also imagine that towards the end of the Middle Ages, the master of the revels might begin to look at those towers of wood and pasteboard with a sort of pain, and perhaps put them away in a corner, as a child will tire of a toy especially if it is associated with a disappointment or a dismal misunderstanding. There is noticeable in some of the later popular poems a disposition to sulk about the Crusades. But though the popular feeling had been largely poetical, the same thing did in its degree occur in the political realm that was purely practical. The Moslem had been checked, but he had not been checked enough. The whole story of what was called the Eastern Question, and three-quarters of the wars of the modern world, were due to the fact that he was not checked enough.