The attitude of faith is not embodied in dogmatic and speculative religious doctrines alone; for it finds expression in other beliefs--in progress, in the possibility of a sunny social order, in the perpetuity of human culture, in the peculiar mission of one's race or country. Such beliefs are expressions primarily of faith, not of knowledge; like religion, they are interpretations of life based on aspiration, not on evidence; and through them men secure the same sort of re-enforcement of motive, courage, and consolation that they derive from the doctrines called religious. But the sphere of faith is wider even than this; the almost instinctive belief that each man has in his own longevity and success, the trust in the permanence of friendship and love, the confidence in the unique value of one's work or genius--these are also convictions founded more on desire than on knowledge, and may function in the same way as religion in a man's life. The re-affirmation of life which art may inspire is independent of any belief or faith about the world. It occurs rather through the application to the objects and incidents of life of a spirit and attitude borrowed from artistic creation and appreciation. It is a generalization of the aesthetic point of view to cover life as well as art; an attempt to bring beauty from art into the whole of life. Although to-day works of art themselves are severed from direct contact with the rest of life, something of the intention and method of the artist may linger and be carried over into it. Art, the image of life, may now serve as a model, after which the latter, in its turn, will be patterned. The spirit of art has two forms, one constructive, the other contemplative, and both may be infused into life. When the former is put there, each act and task is performed as if it were a work of art. This involves "throwing the whole self" into it, not only thought and patience, but enthusiasm and loving finish, even as the artist puts them into his work, so that it becomes a happy self-expression. Nothing shall interfere with or mar it, or spoil its value when recalled. The imperfection and transiency of the result are then forgotten in the inspiration of endeavor; and the work or act, no matter how insignificant, becomes perfect as an experience and as a memory. The generations may judge it as they will, but as an expression of the energies of my own soul, it is divine. Of course, from the industry of our time, where most work is mechanical and meaningless to him who performs it, the spirit of art has largely fled. Yet there still remain tasks which we all have to execute, if not in business, then at home, which, by arousing our interest and invention, may become materials for the spirit of art. We have at least our homes, our pleasures, our relations with one another, our private adventures, where we can still be free and genial and masterly. And for our work, art will continue to be an ideal, sorrowfully appealing.