justify the existence of the hostility under consideration
becomes evident if we look a little deeper. In the first
place, it is apparent that the attitude of the listener and
expresser of the commands of the inner voice, which is
marked in the artist, is, in fact, shared to some extent by
every man of talent in every walk of life. So far as a man
is in any degree a genius, it is because an inner voice,
which he cannot account for, and which is not heard by
others, has guided him in new, untrodden paths. The
strictest scientist reaches but a little way so long as he
merely accumulates facts: his triumphs come when, by
some "inspiration," a vision of relations between these facts
is revealed to him.

Science, surely, can bear no grudge against the imagina-
tion; on the contrary, her main dependence is upon the
imagination, to which she looks for those hypotheses which
serve as the incentive to experiment, without which there
were no scientific advance. As Tyndall ¹ says, "Nourished
by knowledge patiently won, bounded and conditioned by
co-operant reason, Imagination becomes the mightiest instru-
ment of the physical discoverer."
But beyond this, the scientist is deeply indebted to
artistic genius: like all other men, he gains the joys of life
in regions which are distinctly æsthetic in the wide sense
in which we shall find we must use the word, and clearly
should not underestimate the value of what is so important
a part of his life.

In similar manner we find the artist's development
dependent upon the very qualities which are in more em-
phatic degree distinctive of the scientist; and furthermore
we find him at every turn making use of the results of the

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