Insignificant as it now appears in the annals of science, this decision seems to me to mark a definite turning point in human thought. Henceforth the scientist was to be one sort of person and the artist another; henceforth the idolum of science and the idolum of art were not to be cemented together in a single personality; henceforth, in fact, the dehumanization of art and science begins. It is interesting to note that with the divorce of the humanities from science, art and science entered upon separate careers which, for all their diversities, are curiously similar. Both art and science, for example, ceased to be the common property of the community; and each of them split up into a multiplying host of specialisms. In this process, art and science made many notable advances; so that this period is usually spoken of as a period of enlightenment or progress; but the result on the community was what we discovered in our examination of Coketown and the Country House. 7 We must now consider the development of the arts in the modern community. At the height of the Middle Age, as in fifth century Athens, the arts formed together a living unity. A citizen did not go into a concert hall to hear music, to a church to say his prayers, to a theatre to see a play, to a picture gallery to view pictures: it was a mean town, indeed, that could not boast a cathedral and a couple of churches; and in these buildings, drama and music and architecture and painting and sculpture were united for the purpose of ringing changes on the emotional nature of men and converting them to accept the theological vision of otherworldly utopia. The splitting up of these arts into a number of separate boxes was part of that movement towards individualism and protestantism whose effects most people are familiar with in the field of religion alone. Henceforward, music, drama, painting, and the other arts developed largely in isolation; and each of them was forced to build up a separate world. The greater part of the gains that were made in these worlds was not carried over into the community at large, but remained the possession of the artists themselves or their private patrons and critics in the Country House. With such exceptions as the Italian and Japanese woodcuts of the eighteenth century, and the few survivals of ballad and drama that slipt over from the Middle Age, popular art became another name for all that was coarse and stunted and depressed. The popular architecture of the nineteenth century is the sordid little redbrick rabbit hutch: popular religion is embodied in the stunted sheet-iron or brick chapel (as it is called in England) of the Baptists and Methodists: popular music is the latest barrel organ lilt: popular painting is the calendar lithograph: and popular literature is the dime novel.