it will be right to take into account the area of the canvases, the thickness of the frames, and the potential value of each as fuel or shelter against the rigours of our climate.  In casting up accounts you should not neglect their possible effects on the middle-aged people who visit Burlington House and the Suffolk Street Gallery; nor must you forget the consciences of those who handle the Chantry funds, or of those whom high prices provoke to emulation.  You will be making a moral and not an aesthetic judgment; and if you have concluded that neither picture is a work of art, though you may be wasting your time, you will not be making yourself ridiculous.  But when you treat a picture as a work of art, you have, unconsciously perhaps, made a far more important moral judgment.  You have assigned it to a class of objects so powerful and direct as means to spiritual exaltation that all minor merits are inconsiderable.  Paradoxical as it may seem, the only relevant qualities in a work of art, judged as art, are artistic qualities:  judged as a means to good, no other qualities are worth considering; for there are no qualities of greater moral value than artistic qualities, since there is no greater means to good than art.

FOOTNOTES: 

[Footnote 5:  “An Essay in Aesthetics,” by Roger Fry:  The New Quarterly, No. 6, vol. ii.]

[Footnote 6:  McTaggart:  Some Dogmas of Religion.]

[Footnote 7:  I am aware that there are men of science who preserve an open mind as to the reality of the physical universe, and recognise that what is known as “the scientific hypothesis” leaves out of account just those things that seem to us most real.  Doubtless these are the true men of science; they are not the common ones.]

[Footnote 8:  I should not have expected the wars of so-called religion or the Puritan revolution to have awakened in men a sense of the emotional significance of the universe, and I should be a good deal surprised if Sir Edward Carson’s agitation were to produce in the North-East of Ireland a crop of first-rate formal expression.]

[Footnote 9:  Formerly he held that inanimate beauty also was good in itself.  But this tenet, I am glad to learn, he has discarded.]

III

         THE CHRISTIAN SLOPE

I. THE RISE OF CHRISTIAN ART

II.  GREATNESS AND DECLINE

III.  THE CLASSICAL RENAISSANCE AND ITS DISEASES

IV.  ALID EX ALIO

  [Illustration:  Photo, Alinari
  BYZANTINE MOSAIC, SIXTH CENTURY
  S.  Vitale, Ravenna]

I

THE RISE OF CHRISTIAN ART