ine arts, however, and in religion and philosophy, we are still in full career towards disintegration. It might have been thought that a germ of rational order would by this time have penetrated into fine art and speculation from the prosperous constructive arts that touch the one, and the prosperous natural and mathematical sciences that touch the other. But as yet there is little sign of it. Since the beginning of the nineteenth century painting and sculpture have passed through several phases, representatives of each naturally surviving after the next had appeared. Romanticism, half lurid, half effeminate, yielded to a brutal pursuit of material truth, and a pious preference for modern and humble sentiment. This realism had a romantic vein in it, and studied vice and crime, tedium and despair, with a very genuine horrified sympathy. Some went in for a display of archaeological lore or for exotic motifs; others gave all their attention to rediscovering and emphasising abstract problems of execution
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