For that is what religion does to morality. It carries a step higher the unity or rather combination gained in the State: it is the fuller harmony of the individual and the collectivity. The moral conscience rests in certainty and fixity on the religious. But Religion (thus widely understood as the faith in sempiternal and all-explaining reality) at first appears under a guise of Art. The poem and the pyramid, the temple-image and the painting, the drama and the fairy legend, these are religion: but they are, perhaps, religion as Art. And that means that they present the eternal under sensible representations, the work of an artist, and in a perishable material of limited range. Yet even the carvers of a long-past day whose works have been disinterred from the plateaux of Auvergne knew that they gave to the perishable life around them a quasi-immortality: and the myth-teller of a savage tribe elevated the incident of a season into a perennial power of love and fear. The cynic may remind us that from the finest picture of the artist, readily “We turn To yonder girl that fords the burn.” And yet it may be said in reply to the cynic that, had it not been for the deep-imprinted lesson of the artist, it would have been but a brutal instinct that would have drawn our eyes. The artist, the poet, the musician, reveal the meaning, the truth, the reality of the world: they teach us, they help us, backward younger brothers, to see, to hear, to feel what our rude senses had failed to detect. They enact the miracle of the loaves and fishes, again and again: out of the common limited things of every day they produce a bread of life in which the generations continue to find nourishment.