n scientific. We often hear religious but non-scientific
men complain because scientific and perhaps equally as religious men do
not in their books ascribe the production of natural phenomena to the
Divine Power. But if they were so to do they would be transcending
their business as scientists. In every science certain simple facts of
experience are taken for granted: it is the business of the scientist
to reduce other and more complex facts of experience to terms of these
data, not to explain these data themselves. Thus the physicist attempts
to reduce other related phenomena of greater complexity to terms of
simple force and motion; but, What are force and motion? Why does force
produce or result in motion? are questions which lie beyond the scope
of physics. In order to answer these questions, if, indeed, this be
possible, we must first inquire, How and why do these ideas of force and
motion arise in our minds? These problems land us in the psychical or
spiritual world, and the term "magic" at once becomes significant.

"If, says THOMAS CARLYLE,... we... have led thee into the true Land of
Dreams; and... thou lookest, even for moments, into the region of
the Wonderful, and seest and feelest that thy daily life is girt with
Wonder, and based on Wonder, and thy very blankets and breeches are
Miracles,--then art thou profited beyond money's worth...."(1)

(1) THOMAS CARLYLE: _Sartor Resartus_, bk. iii. chap. ix.

VIII. ARCHITECTURAL SYMBOLISM

I WAS once rash enough to suggest in an essay "On Symbolism in Art"(1)
that "a true work of art is at once realistic, imaginative, and
symbolical," and that its aim is to make manifest the spiritual
significance of the natural objects dealt with. I trust that those
artists (no doubt many) who disagree with me will forgive me--a man
of science--for having ventured to express any opinion whatever on the
subject. But, at any rate, if the suggestions in question are accepted,
then a criterion for distinguishing between art and craft is at once
available; for we may say that, whilst craft aims at producing works
which are physically useful, art aims at producing works which are
spiritually useful. Architecture, from this point of view, is a
combination of craft and art. It may, indeed, be said that the modern
architecture which creates our dwelling-houses, factories, and even to
a large extent our places of worship, is pure craft unmixed with art On
the other hand, it might