in the depth of their rootage in the unconscious life of the race. If
it be true that the fundamental process of the physical universe and
of the life of man, so far as we can understand them, is not
intellectual, but vital, then it is also true that the formative ideas
by which we live, and in the clear comprehension of which the
greatness of intellectual and spiritual life for us lies, have been
borne in upon the race by living rather than by thinking. They are
felt and experienced first, and formulated later. It is clear that a
definite purpose is being wrought out through physical processes in
the world of matter; it is equally clear to most men that moral and
spiritual purposes are being worked out through the processes which
constitute the conditions of our being and acting in this world. It
has been the engrossing and fruitful study of science to discover the
processes and comprehend the ends of the physical order; it is the
highest office of art to discover and illustrate, for the most part
unconsciously, the processes and results of the spiritual order by
setting forth in concrete form the underlying and formative ideas of
races and periods.

"The thought that makes the work of art," says Mr. John La Farge in a
discussion of the art of painting of singular insight and
intelligence, "the thought which in its highest expression we call
genius, is not reflection or reflective thought. The thought which
analyses has the same deficiencies as our eyes. It can fix only one
point at a time. It is necessary for it to examine each element of
consideration, and unite it to others, to make a whole. But the
_logic of free life, which is the logic of art_, is like that
logic of one using the eye, in which we make most wonderful
combinations of momentary adaptation, by co-ordinating innumerable
memories, by rejecting those that are useless or antagonistic; and all