The music over in the church had lifted itself again into form and sequence, and defied the closed window.  If anything, it was louder than before, and the sonorous roar of the bass-pedals seemed to be shaking the very walls.  It was something with a big-lunged, exultant, triumphing swing in it—­something which ought to have been sung on the battlefield at the close of day by the whole jubilant army of victors.  It was impossible to pretend not to be listening to it; but the doctor submitted with an obvious scowl, and bit off the tip of his third cigar with an annoyed air.

“You don’t seem to care much for music,” suggested Mr. Ware, when a lull came.

Dr. Ledsmar looked up, lighted match in hand.  “Say musicians!” he growled.  “Has it ever occurred to you,” he went on, between puffs at the flame, “that the only animals who make the noises we call music are of the bird family—­a debased offshoot of the reptilian creation—­the very lowest types of the vertebrata now in existence?  I insist upon the parallel among humans.  I have in my time, sir, had considerable opportunities for studying close at hand the various orders of mammalia who devote themselves to what they describe as the arts.  It may sound a harsh judgement, but I am convinced that musicians stand on the very bottom rung of the ladder in the sub-cellar of human intelligence, even lower than painters and actors.”

This seemed such unqualified nonsense to the Rev. Mr. Ware that he offered no comment whatever upon it.  He tried instead to divert his thoughts to the stormy strains which rolled in through the vibrating brickwork, and to picture to himself the large, capable figure of Miss Madden seated in the half-light at the organ-board, swaying to and fro in a splendid ecstasy of power as she evoked at will this superb and ordered uproar.  But the doctor broke insistently in upon his musings.

“All art, so-called, is decay,” he said, raising his voice.  “When a race begins to brood on the beautiful—­so-called—­it is a sign of rot, of getting ready to fall from the tree.  Take the Jews—­those marvellous old fellows—­who were never more than a handful, yet have imposed the rule of their ideas and their gods upon us for fifteen hundred years.  Why?  They were forbidden by their most fundamental law to make sculptures or pictures.  That was at a time when the Egyptians, when the Assyrians, and other Semites, were running to artistic riot.  Every great museum in the world now has whole floors devoted to statues from the Nile, and marvellous carvings from the palaces of Sargon and Assurbanipal.  You can get the artistic remains of the Jews during that whole period into a child’s wheelbarrow.  They had the sense and strength to penalize art; they alone survived.  They saw the Egyptians go, the Assyrians go, the Greeks go, the late Romans go, the Moors in Spain go—­all the artistic peoples perish.  They remained triumphing over all.  Now at last their long-belated apogee is here; their decline is at hand.  I am told that in this present generation in Europe the Jews are producing a great lot of young painters and sculptors and actors, just as for a century they have been producing famous composers and musicians.  That means the end of the Jews!”