There seems to me to be in art, to take the metaphor of the temple at Jerusalem, three gradations or regions, which may be typified by the Court, the Holy Place, and the Holy of Holies. Into the Court many have admittance, both writers and readers; it is just shut off from the world, but admittance is easy and common. All who are moved and stirred by ideas and images can enter here. Then there is the Holy Place, dark and glorious, where the candlestick glimmers and the altar gleams. And to this place the priests of art have access. Here are to be found all delicate and strenuous craftsmen, all who understand that there are secrets and mysteries in art. They can please and thrill the mind and ear; they can offer up a fragrant incense; but the full mystery is not revealed to them. Here are to be found many graceful and soulless poets, many writers of moving tales, and discriminating critics, who are satisfied, but cannot satisfy. Those who frequent this place are generally of opinion that they know all that is to be known; they talk much of form and colour, of values and order. They can make the most of their materials; and indeed their skill outruns their emotion. But there is the inmost shrine of all within, where the darkness broods, lit at intervals by the shining of a divine light, that glimmers on the ark and touches the taper wings of the adoring angels. The contents indeed of the sacred chest are of the simplest; a withered branch, a pot of food, two slabs of grey stone, obscurely engraved. Nothing rich or rare. But those who have access to the inner shrine are face to face with the mystery. Some have the skill to hint it, none to describe it. And there are some, too, who have no skill to express themselves, but who have visited the place, and bring back some touch of radiance gushing from their brows.