 Henry follows Heidegger here so far as to say that art reveals an original appearing. But he opposes Heidegger in at least two essential points: 1) The idea that the world of art is a world apart from ordinary experience; and 2) The idea that the original appearing is the appearing of a world. With regard to the first point, Henry observes that the rise of art as a separate domain is historically situated in modernity. Such a separation did not exist when some of humanity’s greatest art works were created, the temples of ancient Greece or the cathedrals of the Middle Ages, for instance. The function of these edifices was to serve as a place where the divine could be worshipped, and the divine was the chief concern of those who conceived them, not beauty. As Henry concludes, it is only through our retrospective glance and through the projection of our own 20th-century concept of art that we find these works beautiful; and beauty has even become the only thing we are capable of finding in them “since we have lost their original meaning”, i.e., “since we do not anymore see a temple as an access to the sacred essence of things, but as a work of art” (AP 285–6).