Hopes and Fears for Art
by William Morris
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by William Morris


The Lesser Arts The Art of the People The Beauty of Life Making the Best of It The Prospects of Architecture in Civilisation


Hereafter I hope in another lecture to have the pleasure of laying before you an historical survey of the lesser, or as they are called the Decorative Arts, and I must confess it would have been pleasanter to me to have begun my talk with you by entering at once upon the subject of the history of this great industry; but, as I have something to say in a third lecture about various matters connected with the practice of Decoration among ourselves in these days, I feel that I should be in a false position before you, and one that might lead to confusion, or overmuch explanation, if I did not let you know what I think on the nature and scope of these arts, on their condition at the present time, and their outlook in times to come. In doing this it is like enough that I shall say things with which you will very much disagree; I must ask you therefore from the outset to believe that whatever I may blame or whatever I may praise, I neither, when I think of what history has been, am inclined to lament the past, to despise the present, or despair of the future; that I believe all the change and stir about us is a sign of the world's life, and that it will lead—by ways, indeed, of which we have no guess—to the bettering of all mankind.

Now as to the scope and nature of these Arts I have to say, that though when I come more into the details of my subject I shall not meddle much with the great art of Architecture, and less still with the great arts commonly called Sculpture and Painting, yet I cannot in my own mind quite sever them from those lesser so-called Decorative Arts, which I have to speak about: it is only in latter times, and under the most intricate conditions of life, that they have fallen apart from one another; and I hold that, when they are so parted, it is ill for the Arts altogether: the lesser ones become trivial, mechanical, unintelligent, incapable of resisting the changes pressed upon them by fashion or dishonesty; while the greater, however they may be practised for a while by men of great minds and wonder-working hands, unhelped by the lesser, unhelped by each other, are sure to lose their dignity of popular arts, and become nothing but dull adjuncts to unmeaning pomp, or ingenious toys for a few rich and idle men.

However, I have not undertaken to talk to you of Architecture, Sculpture, and Painting, in the narrower sense of those words, since, most unhappily as I think, these master-arts, these arts more specially of the intellect, are at the present day divorced from decoration in its narrower sense. Our subject is that great body of art, by means of which men have at all times more or less striven to beautify the familiar matters of everyday life: a wide subject, a great industry; both a great part of the history of the world, and a most helpful instrument to the study of that history.

A very great industry indeed, comprising the crafts of house- building, painting, joinery and carpentry, smiths' work, pottery and glass-making, weaving, and many others: a body of art most important to the public in general, but still more so to us handicraftsmen; since there is scarce anything that they use, and that we fashion, but it has always been thought to be unfinished till it has had some touch or other of decoration about it. True it is that in many or most cases we have got so used to this ornament, that we look upon it as if it had grown of itself, and note it no more than the mosses on the dry sticks with which we light our fires. So much the worse! for there IS the decoration, or some pretence of it, and it has, or ought to have, a use and a meaning. For, and this is at the root of the whole matter, everything made by man's hands has a form, which must be either beautiful or ugly; beautiful if it is in accord with Nature, and helps her; ugly if it is discordant with Nature, and thwarts her; it cannot be indifferent: we, for our parts, are busy or sluggish, eager or unhappy, and our eyes are apt to get dulled to this eventfulness of form in those things which we are always looking at. Now it is one of the chief uses of decoration, the chief part of its alliance with nature, that it has to sharpen our dulled senses in this matter: for this end are those wonders of intricate patterns interwoven, those strange forms invented, which men have so long delighted in: forms and intricacies that do not necessarily imitate nature, but in which the hand of the craftsman is guided to work in the way that she does, till the web, the cup, or the knife, look as natural, nay as lovely, as the green field, the river bank, or the mountain flint.

To give people pleasure in the things they must perforce USE, that is one great office of decoration; to give people pleasure in the things they must perforce MAKE, that is the other use of it.

Does not our subject look important enough now? I say that without these arts, our rest would be vacant and uninteresting, our labour mere endurance, mere wearing away of body and mind.

As for that last use of these arts, the giving us pleasure in our work, I scarcely know how to speak strongly enough of it; and yet if I did not know the value of repeating a truth again and again, I should have to excuse myself to you for saying any more about this, when I remember how a great man now living has spoken of it: I mean my friend Professor John Ruskin: if you read the chapter in the 2nd vol. of his Stones of Venice entitled, 'On the Nature of Gothic, and the Office of the Workman therein,' you will read at once the truest and the most eloquent words that can possibly be said on the subject. What I have to say upon it can scarcely be more than an echo of his words, yet I repeat there is some use in reiterating a truth, lest it be forgotten; so I will say this much further: we all know what people have said about the curse of labour, and what heavy and grievous nonsense are the more part of their words thereupon; whereas indeed the real curses of craftsmen have been the curse of stupidity, and the curse of injustice from within and from without: no, I cannot suppose there is anybody here who would think it either a good life, or an amusing one, to sit with one's hands before one doing nothing—to live like a gentleman, as fools call it.

Nevertheless there IS dull work to be done, and a weary business it is setting men about such work, and seeing them through it, and I would rather do the work twice over with my own hands than have such a job: but now only let the arts which we are talking of beautify our labour, and be widely spread, intelligent, well understood both by the maker and the user, let them grow in one word POPULAR, and there will be pretty much an end of dull work and its wearing slavery; and no man will any longer have an excuse for talking about the curse of labour, no man will any longer have an excuse for evading the blessing of labour. I believe there is nothing that will aid the world's progress so much as the attainment of this; I protest there is nothing in the world that I desire so much as this, wrapped up, as I am sure it is, with changes political and social, that in one way or another we all desire.

Now if the objection be made, that these arts have been the handmaids of luxury, of tyranny, and of superstition, I must needs say that it is true in a sense; they have been so used, as many other excellent things have been. But it is also true that, among some nations, their most vigorous and freest times have been the very blossoming times of art: while at the same time, I must allow that these decorative arts have flourished among oppressed peoples, who have seemed to have no hope of freedom: yet I do not think that we shall be wrong in thinking that at such times, among such peoples, art, at least, was free; when it has not been, when it has really been gripped by superstition, or by luxury, it has straightway begun to sicken under that grip. Nor must you forget that when men say popes, kings, and emperors built such and such buildings, it is a mere way of speaking. You look in your history- books to see who built Westminster Abbey, who built St. Sophia at Constantinople, and they tell you Henry III., Justinian the Emperor. Did they? or, rather, men like you and me, handicraftsmen, who have left no names behind them, nothing but their work?

Now as these arts call people's attention and interest to the matters of everyday life in the present, so also, and that I think is no little matter, they call our attention at every step to that history, of which, I said before, they are so great a part; for no nation, no state of society, however rude, has been wholly without them: nay, there are peoples not a few, of whom we know scarce anything, save that they thought such and such forms beautiful. So strong is the bond between history and decoration, that in the practice of the latter we cannot, if we would, wholly shake off the influence of past times over what we do at present. I do not think it is too much to say that no man, however original he may be, can sit down to-day and draw the ornament of a cloth, or the form of an ordinary vessel or piece of furniture, that will be other than a development or a degradation of forms used hundreds of years ago; and these, too, very often, forms that once had a serious meaning, though they are now become little more than a habit of the hand; forms that were once perhaps the mysterious symbols of worships and beliefs now little remembered or wholly forgotten. Those who have diligently followed the delightful study of these arts are able as if through windows to look upon the life of the past:- the very first beginnings of thought among nations whom we cannot even name; the terrible empires of the ancient East; the free vigour and glory of Greece; the heavy weight, the firm grasp of Rome; the fall of her temporal Empire which spread so wide about the world all that good and evil which men can never forget, and never cease to feel; the clashing of East and West, South and North, about her rich and fruitful daughter Byzantium; the rise, the dissensions, and the waning of Islam; the wanderings of Scandinavia; the Crusades; the foundation of the States of modern Europe; the struggles of free thought with ancient dying system—with all these events and their meaning is the history of popular art interwoven; with all this, I say, the careful student of decoration as an historical industry must be familiar. When I think of this, and the usefulness of all this knowledge, at a time when history has become so earnest a study amongst us as to have given us, as it were, a new sense: at a time when we so long to know the reality of all that has happened, and are to be put off no longer with the dull records of the battles and intrigues of kings and scoundrels,—I say when I think of all this, I hardly know how to say that this interweaving of the Decorative Arts with the history of the past is of less importance than their dealings with the life of the present: for should not these memories also be a part of our daily life?

And now let me recapitulate a little before I go further, before we begin to look into the condition of the arts at the present day. These arts, I have said, are part of a great system invented for the expression of a man's delight in beauty: all peoples and times have used them; they have been the joy of free nations, and the solace of oppressed nations; religion has used and elevated them, has abused and degraded them; they are connected with all history, and are clear teachers of it; and, best of all, they are the sweeteners of human labour, both to the handicraftsman, whose life is spent in working in them, and to people in general who are influenced by the sight of them at every turn of the day's work: they make our toil happy, our rest fruitful.

And now if all I have said seems to you but mere open-mouthed praise of these arts, I must say that it is not for nothing that what I have hitherto put before you has taken that form.

It is because I must now ask you this question: All these good things—will you have them? will you cast them from you?

Are you surprised at my question—you, most of whom, like myself, are engaged in the actual practice of the arts that are, or ought to be, popular?

In explanation, I must somewhat repeat what I have already said. Time was when the mystery and wonder of handicrafts were well acknowledged by the world, when imagination and fancy mingled with all things made by man; and in those days all handicraftsmen were ARTISTS, as we should now call them. But the thought of man became more intricate, more difficult to express; art grew a heavier thing to deal with, and its labour was more divided among great men, lesser men, and little men; till that art, which was once scarce more than a rest of body and soul, as the hand cast the shuttle or swung the hammer, became to some men so serious labour, that their working lives have been one long tragedy of hope and fear, joy and trouble. This was the growth of art: like all growth, it was good and fruitful for awhile; like all fruitful growth, it grew into decay; like all decay of what was once fruitful, it will grow into something new.

Into decay; for as the arts sundered into the greater and the lesser, contempt on one side, carelessness on the other arose, both begotten of ignorance of that PHILOSOPHY of the Decorative Arts, a hint of which I have tried just now to put before you. The artist came out from the handicraftsmen, and left them without hope of elevation, while he himself was left without the help of intelligent, industrious sympathy. Both have suffered; the artist no less than the workman. It is with art as it fares with a company of soldiers before a redoubt, when the captain runs forward full of hope and energy, but looks not behind him to see if his men are following, and they hang back, not knowing why they are brought there to die. The captain's life is spent for nothing, and his men are sullen prisoners in the redoubt of Unhappiness and Brutality.

I must in plain words say of the Decorative Arts, of all the arts, that it is not so much that we are inferior in them to all who have gone before us, but rather that they are in a state of anarchy and disorganisation, which makes a sweeping change necessary and certain.

So that again I ask my question, All that good fruit which the arts should bear, will you have it? will you cast it from you? Shall that sweeping change that must come, be the change of loss or of gain?

We who believe in the continuous life of the world, surely we are bound to hope that the change will bring us gain and not loss, and to strive to bring that gain about.

Yet how the world may answer my question, who can say? A man in his short life can see but a little way ahead, and even in mine wonderful and unexpected things have come to pass. I must needs say that therein lies my hope rather than in all I see going on round about us. Without disputing that if the imaginative arts perish, some new thing, at present unguessed of, MAY be put forward to supply their loss in men's lives, I cannot feel happy in that prospect, nor can I believe that mankind will endure such a loss for ever: but in the meantime the present state of the arts and their dealings with modern life and progress seem to me to point, in appearance at least, to this immediate future; that the world, which has for a long time busied itself about other matters than the arts, and has carelessly let them sink lower and lower, till many not uncultivated men, ignorant of what they once were, and hopeless of what they might yet be, look upon them with mere contempt; that the world, I say, thus busied and hurried, will one day wipe the slate, and be clean rid in her impatience of the whole matter with all its tangle and trouble.

And then—what then?

Even now amid the squalor of London it is hard to imagine what it will be. Architecture, Sculpture, Painting, with the crowd of lesser arts that belong to them, these, together with Music and Poetry, will be dead and forgotten, will no longer excite or amuse people in the least: for, once more, we must not deceive ourselves; the death of one art means the death of all; the only difference in their fate will be that the luckiest will be eaten the last—the luckiest, or the unluckiest: in all that has to do with beauty the invention and ingenuity of man will have come to a dead stop; and all the while Nature will go on with her eternal recurrence of lovely changes—spring, summer, autumn, and winter; sunshine, rain, and snow; storm and fair weather; dawn, noon, and sunset; day and night—ever bearing witness against man that he has deliberately chosen ugliness instead of beauty, and to live where he is strongest amidst squalor or blank emptiness.

You see, sirs, we cannot quite imagine it; any more, perhaps, than our forefathers of ancient London, living in the pretty, carefully whitened houses, with the famous church and its huge spire rising above them,—than they, passing about the fair gardens running down to the broad river, could have imagined a whole county or more covered over with hideous hovels, big, middle-sized, and little, which should one day be called London.

Sirs, I say that this dead blank of the arts that I more than dread is difficult even now to imagine; yet I fear that I must say that if it does not come about, it will be owing to some turn of events which we cannot at present foresee: but I hold that if it does happen, it will only last for a time, that it will be but a burning up of the gathered weeds, so that the field may bear more abundantly. I hold that men would wake up after a while, and look round and find the dulness unbearable, and begin once more inventing, imitating, and imagining, as in earlier days.

That faith comforts me, and I can say calmly if the blank space must happen, it must, and amidst its darkness the new seed must sprout. So it has been before: first comes birth, and hope scarcely conscious of itself; then the flower and fruit of mastery, with hope more than conscious enough, passing into insolence, as decay follows ripeness; and then—the new birth again.

Meantime it is the plain duty of all who look seriously on the arts to do their best to save the world from what at the best will be a loss, the result of ignorance and unwisdom; to prevent, in fact, that most discouraging of all changes, the supplying the place of an extinct brutality by a new one; nay, even if those who really care for the arts are so weak and few that they can do nothing else, it may be their business to keep alive some tradition, some memory of the past, so that the new life when it comes may not waste itself more than enough in fashioning wholly new forms for its new spirit.

To what side then shall those turn for help, who really understand the gain of a great art in the world, and the loss of peace and good life that must follow from the lack of it? I think that they must begin by acknowledging that the ancient art, the art of unconscious intelligence, as one should call it, which began without a date, at least so long ago as those strange and masterly scratchings on mammoth-bones and the like found but the other day in the drift— that this art of unconscious intelligence is all but dead; that what little of it is left lingers among half-civilised nations, and is growing coarser, feebler, less intelligent year by year; nay, it is mostly at the mercy of some commercial accident, such as the arrival of a few shiploads of European dye-stuffs or a few dozen orders from European merchants: this they must recognise, and must hope to see in time its place filled by a new art of conscious intelligence, the birth of wiser, simpler, freer ways of life than the world leads now, than the world has ever led.

I said, TO SEE this in time; I do not mean to say that our own eyes will look upon it: it may be so far off, as indeed it seems to some, that many would scarcely think it worth while thinking of: but there are some of us who cannot turn our faces to the wall, or sit deedless because our hope seems somewhat dim; and, indeed, I think that while the signs of the last decay of the old art with all the evils that must follow in its train are only too obvious about us, so on the other hand there are not wanting signs of the new dawn beyond that possible night of the arts, of which I have before spoken; this sign chiefly, that there are some few at least who are heartily discontented with things as they are, and crave for something better, or at least some promise of it—this best of signs: for I suppose that if some half-dozen men at any time earnestly set their hearts on something coming about which is not discordant with nature, it will come to pass one day or other; because it is not by accident that an idea comes into the heads of a few; rather they are pushed on, and forced to speak or act by something stirring in the heart of the world which would otherwise be left without expression.

By what means then shall those work who long for reform in the arts, and who shall they seek to kindle into eager desire for possession of beauty, and better still, for the development of the faculty that creates beauty?

People say to me often enough: If you want to make your art succeed and flourish, you must make it the fashion: a phrase which I confess annoys me; for they mean by it that I should spend one day over my work to two days in trying to convince rich, and supposed influential people, that they care very much for what they really do not care in the least, so that it may happen according to the proverb: Bell-wether took the leap, and we all went over. Well, such advisers are right if they are content with the thing lasting but a little while; say till you can make a little money—if you don't get pinched by the door shutting too quickly: otherwise they are wrong: the people they are thinking of have too many strings to their bow, and can turn their backs too easily on a thing that fails, for it to be safe work trusting to their whims: it is not their fault, they cannot help it, but they have no chance of spending time enough over the arts to know anything practical of them, and they must of necessity be in the hands of those who spend their time in pushing fashion this way and that for their own advantage.

Sirs, there is no help to be got out of these latter, or those who let themselves be led by them: the only real help for the decorative arts must come from those who work in them; nor must they be led, they must lead.

You whose hands make those things that should be works of art, you must be all artists, and good artists too, before the public at large can take real interest in such things; and when you have become so, I promise you that you shall lead the fashion; fashion shall follow your hands obediently enough.

That is the only way in which we can get a supply of intelligent popular art: a few artists of the kind so-called now, what can they do working in the teeth of difficulties thrown in their way by what is called Commerce, but which should be called greed of money? working helplessly among the crowd of those who are ridiculously called manufacturers, i.e. handicraftsmen, though the more part of them never did a stroke of hand-work in their lives, and are nothing better than capitalists and salesmen. What can these grains of sand do, I say, amidst the enormous mass of work turned out every year which professes in some way to be decorative art, but the decoration of which no one heeds except the salesmen who have to do with it, and are hard put to it to supply the cravings of the public for something new, not for something pretty?

The remedy, I repeat, is plain if it can be applied; the handicraftsman, left behind by the artist when the arts sundered, must come up with him, must work side by side with him: apart from the difference between a great master and a scholar, apart from the differences of the natural bent of men's minds, which would make one man an imitative, and another an architectural or decorative artist, there should be no difference between those employed on strictly ornamental work; and the body of artists dealing with this should quicken with their art all makers of things into artists also, in proportion to the necessities and uses of the things they would make.

I know what stupendous difficulties, social and economical, there are in the way of this; yet I think that they seem to be greater than they are: and of one thing I am sure, that no real living decorative art is possible if this is impossible.

It is not impossible, on the contrary it is certain to come about, if you are at heart desirous to quicken the arts; if the world will, for the sake of beauty and decency, sacrifice some of the things it is so busy over (many of which I think are not very worthy of its trouble), art will begin to grow again; as for those difficulties above mentioned, some of them I know will in any case melt away before the steady change of the relative conditions of men; the rest, reason and resolute attention to the laws of nature, which are also the laws of art, will dispose of little by little: once more, the way will not be far to seek, if the will be with us.

Yet, granted the will, and though the way lies ready to us, we must not be discouraged if the journey seem barren enough at first, nay, not even if things seem to grow worse for a while: for it is natural enough that the very evil which has forced on the beginning of reform should look uglier, while on the one hand life and wisdom are building up the new, and on the other folly and deadness are hugging the old to them.

In this, as in all other matters, lapse of time will be needed before things seem to straighten, and the courage and patience that does not despise small things lying ready to be done; and care and watchfulness, lest we begin to build the wall ere the footings are well in; and always through all things much humility that is not easily cast down by failure, that seeks to be taught, and is ready to learn.

For your teachers, they must be Nature and History: as for the first, that you must learn of it is so obvious that I need not dwell upon that now: hereafter, when I have to speak more of matters of detail, I may have to speak of the manner in which you must learn of Nature. As to the second, I do not think that any man but one of the highest genius, could do anything in these days without much study of ancient art, and even he would be much hindered if he lacked it. If you think that this contradicts what I said about the death of that ancient art, and the necessity I implied for an art that should be characteristic of the present day, I can only say that, in these times of plenteous knowledge and meagre performance, if we do not study the ancient work directly and learn to understand it, we shall find ourselves influenced by the feeble work all round us, and shall be copying the better work through the copyists and WITHOUT understanding it, which will by no means bring about intelligent art. Let us therefore study it wisely, be taught by it, kindled by it; all the while determining not to imitate or repeat it; to have either no art at all, or an art which we have made our own.

Yet I am almost brought to a stand-still when bidding you to study nature and the history of art, by remembering that this is London, and what it is like: how can I ask working-men passing up and down these hideous streets day by day to care about beauty? If it were politics, we must care about that; or science, you could wrap yourselves up in the study of facts, no doubt, without much caring what goes on about you—but beauty! do you not see what terrible difficulties beset art, owing to a long neglect of art—and neglect of reason, too, in this matter? It is such a heavy question by what effort, by what dead-lift, you can thrust this difficulty from you, that I must perforce set it aside for the present, and must at least hope that the study of history and its monuments will help you somewhat herein. If you can really fill your minds with memories of great works of art, and great times of art, you will, I think, be able to a certain extent to look through the aforesaid ugly surroundings, and will be moved to discontent of what is careless and brutal now, and will, I hope, at last be so much discontented with what is bad, that you will determine to bear no longer that short-sighted, reckless brutality of squalor that so disgraces our intricate civilisation.

Well, at any rate, London is good for this, that it is well off for museums,—which I heartily wish were to be got at seven days in the week instead of six, or at least on the only day on which an ordinarily busy man, one of the taxpayers who support them, can as a rule see them quietly,—and certainly any of us who may have any natural turn for art must get more help from frequenting them than one can well say. It is true, however, that people need some preliminary instruction before they can get all the good possible to be got from the prodigious treasures of art possessed by the country in that form: there also one sees things in a piecemeal way: nor can I deny that there is something melancholy about a museum, such a tale of violence, destruction, and carelessness, as its treasured scraps tell us.

But moreover you may sometimes have an opportunity of studying ancient art in a narrower but a more intimate, a more kindly form, the monuments of our own land. Sometimes only, since we live in the middle of this world of brick and mortar, and there is little else left us amidst it, except the ghost of the great church at Westminster, ruined as its exterior is by the stupidity of the restoring architect, and insulted as its glorious interior is by the pompous undertakers' lies, by the vainglory and ignorance of the last two centuries and a half—little besides that and the matchless Hall near it: but when we can get beyond that smoky world, there, out in the country we may still see the works of our fathers yet alive amidst the very nature they were wrought into, and of which they are so completely a part: for there indeed if anywhere, in the English country, in the days when people cared about such things, was there a full sympathy between the works of man, and the land they were made for:- the land is a little land; too much shut up within the narrow seas, as it seems, to have much space for swelling into hugeness: there are no great wastes overwhelming in their dreariness, no great solitudes of forests, no terrible untrodden mountain-walls: all is measured, mingled, varied, gliding easily one thing into another: little rivers, little plains; swelling, speedily-changing uplands, all beset with handsome orderly trees; little hills, little mountains, netted over with the walls of sheep- walks: all is little; yet not foolish and blank, but serious rather, and abundant of meaning for such as choose to seek it: it is neither prison nor palace, but a decent home.

All which I neither praise nor blame, but say that so it is: some people praise this homeliness overmuch, as if the land were the very axle-tree of the world; so do not I, nor any unblinded by pride in themselves and all that belongs to them: others there are who scorn it and the tameness of it: not I any the more: though it would indeed be hard if there were nothing else in the world, no wonders, no terrors, no unspeakable beauties: yet when we think what a small part of the world's history, past, present, and to come, is this land we live in, and how much smaller still in the history of the arts, and yet how our forefathers clung to it, and with what care and pains they adorned it, this unromantic, uneventful-looking land of England, surely by this too our hearts may be touched, and our hope quickened.

For as was the land, such was the art of it while folk yet troubled themselves about such things; it strove little to impress people either by pomp or ingenuity: not unseldom it fell into commonplace, rarely it rose into majesty; yet was it never oppressive, never a slave's nightmare nor an insolent boast: and at its best it had an inventiveness, an individuality that grander styles have never overpassed: its best too, and that was in its very heart, was given as freely to the yeoman's house, and the humble village church, as to the lord's palace or the mighty cathedral: never coarse, though often rude enough, sweet, natural and unaffected, an art of peasants rather than of merchant-princes or courtiers, it must be a hard heart, I think, that does not love it: whether a man has been born among it like ourselves, or has come wonderingly on its simplicity from all the grandeur over-seas. A peasant art, I say, and it clung fast to the life of the people, and still lived among the cottagers and yeomen in many parts of the country while the big houses were being built 'French and fine': still lived also in many a quaint pattern of loom and printing-block, and embroiderer's needle, while over-seas stupid pomp had extinguished all nature and freedom, and art was become, in France especially, the mere expression of that successful and exultant rascality, which in the flesh no long time afterwards went down into the pit for ever.

Such was the English art, whose history is in a sense at your doors, grown scarce indeed, and growing scarcer year by year, not only through greedy destruction, of which there is certainly less than there used to be, but also through the attacks of another foe, called nowadays 'restoration.'

I must not make a long story about this, but also I cannot quite pass it over, since I have pressed on you the study of these ancient monuments. Thus the matter stands: these old buildings have been altered and added to century after century, often beautifully, always historically; their very value, a great part of it, lay in that: they have suffered almost always from neglect also, often from violence (that latter a piece of history often far from uninteresting), but ordinary obvious mending would almost always have kept them standing, pieces of nature and of history.

But of late years a great uprising of ecclesiastical zeal, coinciding with a great increase of study, and consequently of knowledge of mediaeval architecture, has driven people into spending their money on these buildings, not merely with the purpose of repairing them, of keeping them safe, clean, and wind and water- tight, but also of 'restoring' them to some ideal state of perfection; sweeping away if possible all signs of what has befallen them at least since the Reformation, and often since dates much earlier: this has sometimes been done with much disregard of art and entirely from ecclesiastical zeal, but oftener it has been well meant enough as regards art: yet you will not have listened to what I have said to-night if you do not see that from my point of view this restoration must be as impossible to bring about, as the attempt at it is destructive to the buildings so dealt with: I scarcely like to think what a great part of them have been made nearly useless to students of art and history: unless you knew a great deal about architecture you perhaps would scarce understand what terrible damage has been done by that dangerous 'little knowledge' in this matter: but at least it is easy to be understood, that to deal recklessly with valuable (and national) monuments which, when once gone, can never be replaced by any splendour of modern art, is doing a very sorry service to the State.

You will see by all that I have said on this study of ancient art that I mean by education herein something much wider than the teaching of a definite art in schools of design, and that it must be something that we must do more or less for ourselves: I mean by it a systematic concentration of our thoughts on the matter, a studying of it in all ways, careful and laborious practice of it, and a determination to do nothing but what is known to be good in workmanship and design.

Of course, however, both as an instrument of that study we have been speaking of, as well as of the practice of the arts, all handicraftsmen should be taught to draw very carefully; as indeed all people should be taught drawing who are not physically incapable of learning it: but the art of drawing so taught would not be the art of designing, but only a means towards THIS end, GENERAL CAPABILITY IN DEALING WITH THE ARTS,

For I wish specially to impress this upon you, that DESIGNING cannot be taught at all in a school: continued practice will help a man who is naturally a designer, continual notice of nature and of art: no doubt those who have some faculty for designing are still numerous, and they want from a school certain technical teaching, just as they want tools: in these days also, when the best school, the school of successful practice going on around you, is at such a low ebb, they do undoubtedly want instruction in the history of the arts: these two things schools of design can give: but the royal road of a set of rules deduced from a sham science of design, that is itself not a science but another set of rules, will lead nowhere;—or, let us rather say, to beginning again.

As to the kind of drawing that should be taught to men engaged in ornamental work, there is only ONE BEST way of teaching drawing, and that is teaching the scholar to draw the human figure: both because the lines of a man's body are much more subtle than anything else, and because you can more surely be found out and set right if you go wrong. I do think that such teaching as this, given to all people who care for it, would help the revival of the arts very much: the habit of discriminating between right and wrong, the sense of pleasure in drawing a good line, would really, I think, be education in the due sense of the word for all such people as had the germs of invention in them; yet as aforesaid, in this age of the world it would be mere affectation to pretend to shut one's eyes to the art of past ages: that also we must study. If other circumstances, social and economical, do not stand in our way, that is to say, if the world is not too busy to allow us to have Decorative Arts at all, these two are the DIRECT means by which we shall get them; that is, general cultivation of the powers of the mind, general cultivation of the powers of the eye and hand.

Perhaps that seems to you very commonplace advice and a very roundabout road; nevertheless 'tis a certain one, if by any road you desire to come to the new art, which is my subject to-night: if you do not, and if those germs of invention, which, as I said just now, are no doubt still common enough among men, are left neglected and undeveloped, the laws of Nature will assert themselves in this as in other matters, and the faculty of design itself will gradually fade from the race of man. Sirs, shall we approach nearer to perfection by casting away so large a part of that intelligence which makes us MEN?

And now before I make an end, I want to call your attention to certain things, that, owing to our neglect of the arts for other business, bar that good road to us and are such an hindrance, that, till they are dealt with, it is hard even to make a beginning of our endeavour. And if my talk should seem to grow too serious for our subject, as indeed I think it cannot do, I beg you to remember what I said earlier, of how the arts all hang together. Now there is one art of which the old architect of Edward the Third's time was thinking—he who founded New College at Oxford, I mean—when he took this for his motto: 'Manners maketh man:' he meant by manners the art of morals, the art of living worthily, and like a man. I must needs claim this art also as dealing with my subject.

There is a great deal of sham work in the world, hurtful to the buyer, more hurtful to the seller, if he only knew it, most hurtful to the maker: how good a foundation it would be towards getting good Decorative Art, that is ornamental workmanship, if we craftsmen were to resolve to turn out nothing but excellent workmanship in all things, instead of having, as we too often have now, a very low average standard of work, which we often fall below.

I do not blame either one class or another in this matter, I blame all: to set aside our own class of handicraftsmen, of whose shortcomings you and I know so much that we need talk no more about it, I know that the public in general are set on having things cheap, being so ignorant that they do not know when they get them nasty also; so ignorant that they neither know nor care whether they give a man his due: I know that the manufacturers (so called) are so set on carrying out competition to its utmost, competition of cheapness, not of excellence, that they meet the bargain-hunters half way, and cheerfully furnish them with nasty wares at the cheap rate they are asked for, by means of what can be called by no prettier name than fraud. England has of late been too much busied with the counting-house and not enough with the workshop: with the result that the counting-house at the present moment is rather barren of orders.

I say all classes are to blame in this matter, but also I say that the remedy lies with the handicraftsmen, who are not ignorant of these things like the public, and who have no call to be greedy and isolated like the manufacturers or middlemen; the duty and honour of educating the public lies with them, and they have in them the seeds of order and organisation which make that duty the easier.

When will they see to this and help to make men of us all by insisting on this most weighty piece of manners; so that we may adorn life with the pleasure of cheerfully BUYING goods at their due price; with the pleasure of SELLING goods that we could be proud of both for fair price and fair workmanship: with the pleasure of working soundly and without haste at MAKING goods that we could be proud of?—much the greatest pleasure of the three is that last, such a pleasure as, I think, the world has none like it.

You must not say that this piece of manners lies out of my subject: it is essentially a part of it and most important: for I am bidding you learn to be artists, if art is not to come to an end amongst us: and what is an artist but a workman who is determined that, whatever else happens, his work shall be excellent? or, to put it in another way: the decoration of workmanship, what is it but the expression of man's pleasure in successful labour? But what pleasure can there be in BAD work, in unsuccessful labour; why should we decorate THAT? and how can we bear to be always unsuccessful in our labour?

As greed of unfair gain, wanting to be paid for what we have not earned, cumbers our path with this tangle of bad work, of sham work, so the heaped-up money which this greed has brought us (for greed will have its way, like all other strong passions), this money, I say, gathered into heaps little and big, with all the false distinction which so unhappily it yet commands amongst us, has raised up against the arts a barrier of the love of luxury and show, which is of all obvious hindrances the worst to overpass: the highest and most cultivated classes are not free from the vulgarity of it, the lower are not free from its pretence. I beg you to remember both as a remedy against this, and as explaining exactly what I mean, that nothing can be a work of art which is not useful; that is to say, which does not minister to the body when well under command of the mind, or which does not amuse, soothe, or elevate the mind in a healthy state. What tons upon tons of unutterable rubbish pretending to be works of art in some degree would this maxim clear out of our London houses, if it were understood and acted upon! To my mind it is only here and there (out of the kitchen) that you can find in a well-to-do house things that are of any use at all: as a rule all the decoration (so called) that has got there is there for the sake of show, not because anybody likes it. I repeat, this stupidity goes through all classes of society: the silk curtains in my Lord's drawing-room are no more a matter of art to him than the powder in his footman's hair; the kitchen in a country farmhouse is most commonly a pleasant and homelike place, the parlour dreary and useless.

Simplicity of life, begetting simplicity of taste, that is, a love for sweet and lofty things, is of all matters most necessary for the birth of the new and better art we crave for; simplicity everywhere, in the palace as well as in the cottage.

Still more is this necessary, cleanliness and decency everywhere, in the cottage as well as in the palace: the lack of that is a serious piece of MANNERS for us to correct: that lack and all the inequalities of life, and the heaped-up thoughtlessness and disorder of so many centuries that cause it: and as yet it is only a very few men who have begun to think about a remedy for it in its widest range: even in its narrower aspect, in the defacements of our big towns by all that commerce brings with it, who heeds it? who tries to control their squalor and hideousness? there is nothing but thoughtlessness and recklessness in the matter: the helplessness of people who don't live long enough to do a thing themselves, and have not manliness and foresight enough to begin the work, and pass it on to those that shall come after them.

Is money to be gathered? cut down the pleasant trees among the houses, pull down ancient and venerable buildings for the money that a few square yards of London dirt will fetch; blacken rivers, hide the sun and poison the air with smoke and worse, and it's nobody's business to see to it or mend it: that is all that modern commerce, the counting-house forgetful of the workshop, will do for us herein.

And Science—we have loved her well, and followed her diligently, what will she do? I fear she is so much in the pay of the counting- house, the counting-house and the drill-sergeant, that she is too busy, and will for the present do nothing. Yet there are matters which I should have thought easy for her; say for example teaching Manchester how to consume its own smoke, or Leeds how to get rid of its superfluous black dye without turning it into the river, which would be as much worth her attention as the production of the heaviest of heavy black silks, or the biggest of useless guns. Anyhow, however it be done, unless people care about carrying on their business without making the world hideous, how can they care about Art? I know it will cost much both of time and money to better these things even a little; but I do not see how these can be better spent than in making life cheerful and honourable for others and for ourselves; and the gain of good life to the country at large that would result from men seriously setting about the bettering of the decency of our big towns would be priceless, even if nothing specially good befell the arts in consequence: I do not know that it would; but I should begin to think matters hopeful if men turned their attention to such things, and I repeat that, unless they do so, we can scarcely even begin with any hope our endeavours for the bettering of the arts.

Unless something or other is done to give all men some pleasure for the eyes and rest for the mind in the aspect of their own and their neighbours' houses, until the contrast is less disgraceful between the fields where beasts live and the streets where men live, I suppose that the practice of the arts must be mainly kept in the hands of a few highly cultivated men, who can go often to beautiful places, whose education enables them, in the contemplation of the past glories of the world, to shut out from their view the everyday squalors that the most of men move in. Sirs, I believe that art has such sympathy with cheerful freedom, open-heartedness and reality, so much she sickens under selfishness and luxury, that she will not live thus isolated and exclusive. I will go further than this and say that on such terms I do not wish her to live. I protest that it would be a shame to an honest artist to enjoy what he had huddled up to himself of such art, as it would be for a rich man to sit and eat dainty food amongst starving soldiers in a beleaguered fort.

I do not want art for a few, any more than education for a few, or freedom for a few.

No, rather than art should live this poor thin life among a few exceptional men, despising those beneath them for an ignorance for which they themselves are responsible, for a brutality that they will not struggle with,—rather than this, I would that the world should indeed sweep away all art for awhile, as I said before I thought it possible she might do; rather than the wheat should rot in the miser's granary, I would that the earth had it, that it might yet have a chance to quicken in the dark.

I have a sort of faith, though, that this clearing way of all art will not happen, that men will get wiser, as well as more learned; that many of the intricacies of life, on which we now pride ourselves more than enough, partly because they are new, partly because they have come with the gain of better things, will be cast aside as having played their part, and being useful no longer. I hope that we shall have leisure from war,—war commercial, as well as war of the bullet and the bayonet; leisure from the knowledge that darkens counsel; leisure above all from the greed of money, and the craving for that overwhelming distinction that money now brings: I believe that as we have even now partly achieved LIBERTY, so we shall one day achieve EQUALITY, which, and which only, means FRATERNITY, and so have leisure from poverty and all its griping, sordid cares.

Then having leisure from all these things, amidst renewed simplicity of life we shall have leisure to think about our work, that faithful daily companion, which no man any longer will venture to call the Curse of labour: for surely then we shall be happy in it, each in his place, no man grudging at another; no one bidden to be any man's SERVANT, every one scorning to be any man's MASTER: men will then assuredly be happy in their work, and that happiness will assuredly bring forth decorative, noble, POPULAR art.

That art will make our streets as beautiful as the woods, as elevating as the mountain-sides: it will be a pleasure and a rest, and not a weight upon the spirits to come from the open country into a town; every man's house will be fair and decent, soothing to his mind and helpful to his work: all the works of man that we live amongst and handle will be in harmony with nature, will be reasonable and beautiful: yet all will be simple and inspiriting, not childish nor enervating; for as nothing of beauty and splendour that man's mind and hand may compass shall be wanting from our public buildings, so in no private dwelling will there be any signs of waste, pomp, or insolence, and every man will have his share of the BEST.

It is a dream, you may say, of what has never been and never will be; true, it has never been, and therefore, since the world is alive and moving yet, my hope is the greater that it one day will be: true, it is a dream; but dreams have before now come about of things so good and necessary to us, that we scarcely think of them more than of the daylight, though once people had to live without them, without even the hope of them.

Anyhow, dream as it is, I pray you to pardon my setting it before you, for it lies at the bottom of all my work in the Decorative Arts, nor will it ever be out of my thoughts: and I am here with you to-night to ask you to help me in realising this dream, this HOPE.


'And the men of labour spent their strength in daily struggling for bread to maintain the vital strength they labour with: so living in a daily circulation of sorrow, living but to work, and working but to live, as if daily bread were the only end of a wearisome life, and a wearisome life the only occasion of daily bread.'—DANIEL DEFOE.

I know that a large proportion of those here present are either already practising the Fine Arts, or are being specially educated to that end, and I feel that I may be expected to address myself specially to these. But since it is not to be doubted that we are ALL met together because of the interest we take in what concerns these arts, I would rather address myself to you ALL as representing the public in general. Indeed, those of you who are specially studying Art could learn little of me that would be useful to yourselves only. You are already learning under competent masters— most competent, I am glad to know—by means of a system which should teach you all you need, if you have been right in making the first step of devoting yourselves to Art; I mean if you are aiming at the right thing, and in some way or another understand what Art means, which you may well do without being able to express it, and if you are resolute to follow on the path which that inborn knowledge has shown to you; if it is otherwise with you than this, no system and no teachers will help you to produce real art of any kind, be it never so humble. Those of you who are real artists know well enough all the special advice I can give you, and in how few words it may be said—follow nature, study antiquity, make your own art, and do not steal it, grudge no expense of trouble, patience, or courage, in the striving to accomplish the hard thing you have set yourselves to do. You have had all that said to you twenty times, I doubt not; and twenty times twenty have said it to yourselves, and now I have said it again to you, and done neither you nor me good nor harm thereby. So true it all is, so well known, and so hard to follow.

But to me, and I hope to you, Art is a very serious thing, and cannot by any means be dissociated from the weighty matters that occupy the thoughts of men; and there are principles underlying the practice of it, on which all serious-minded men, may—nay, must— have their own thoughts. It is on some of these that I ask your leave to speak, and to address myself, not only to those who are consciously interested in the arts, but to all those also who have considered what the progress of civilisation promises and threatens to those who shall come after us: what there is to hope and fear for the future of the arts, which were born with the birth of civilisation and will only die with its death—what on this side of things, the present time of strife and doubt and change is preparing for the better time, when the change shall have come, the strife be lulled, and the doubt cleared: this is a question, I say, which is indeed weighty, and may well interest all thinking men.

Nay, so universally important is it, that I fear lest you should think I am taking too much upon myself to speak to you on so weighty a matter, nor should I have dared to do so, if I did not feel that I am to-night only the mouthpiece of better men than myself; whose hopes and fears I share; and that being so, I am the more emboldened to speak out, if I can, my full mind on the subject, because I am in a city where, if anywhere, men are not contented to live wholly for themselves and the present, but have fully accepted the duty of keeping their eyes open to whatever new is stirring, so that they may help and be helped by any truth that there may be in it. Nor can I forget, that, since you have done me the great honour of choosing me for the President of your Society of Arts for the past year, and of asking me to speak to you to-night, I should be doing less than my duty if I did not, according to my lights, speak out straightforwardly whatever seemed to me might be in a small degree useful to you. Indeed, I think I am among friends, who may forgive me if I speak rashly, but scarcely if I speak falsely.

The aim of your Society and School of Arts is, as I understand it, to further those arts by education widely spread. A very great object is that, and well worthy of the reputation of this great city; but since Birmingham has also, I rejoice to know, a great reputation for not allowing things to go about shamming life when the brains are knocked out of them, I think you should know and see clearly what it is you have undertaken to further by these institutions, and whether you really care about it, or only languidly acquiesce in it—whether, in short, you know it to the heart, and are indeed part and parcel of it, with your own will, or against it; or else have heard say that it is a good thing if any one care to meddle with it.

If you are surprised at my putting that question for your consideration, I will tell you why I do so. There are some of us who love Art most, and I may say most faithfully, who see for certain that such love is rare nowadays. We cannot help seeing, that besides a vast number of people, who (poor souls!) are sordid and brutal of mind and habits, and have had no chance or choice in the matter, there are many high-minded, thoughtful, and cultivated men who inwardly think the arts to be a foolish accident of civilisation—nay, worse perhaps, a nuisance, a disease, a hindrance to human progress. Some of these, doubtless, are very busy about other sides of thought. They are, as I should put it, so ARTISTICALLY engrossed by the study of science, politics, or what not, that they have necessarily narrowed their minds by their hard and praiseworthy labours. But since such men are few, this does not account for a prevalent habit of thought that looks upon Art as at best trifling.

What is wrong, then, with us or the arts, since what was once accounted so glorious, is now deemed paltry?

The question is no light one; for, to put the matter in its clearest light, I will say that the leaders of modern thought do for the most part sincerely and single-mindedly hate and despise the arts; and you know well that as the leaders are, so must the people be; and that means that we who are met together here for the furthering of Art by wide-spread education are either deceiving ourselves and wasting our time, since we shall one day be of the same opinion as the best men among us, or else we represent a small minority that is right, as minorities sometimes are, while those upright men aforesaid, and the great mass of civilised men, have been blinded by untoward circumstances.

That we are of this mind—the minority that is right—is, I hope, the case. I hope we know assuredly that the arts we have met together to further are necessary to the life of man, if the progress of civilisation is not to be as causeless as the turning of a wheel that makes nothing.

How, then, shall we, the minority, carry out the duty which our position thrusts upon us, of striving to grow into a majority?

If we could only explain to those thoughtful men, and the millions of whom they are the flower, what the thing is that we love, which is to us as the bread we eat, and the air we breathe, but about which they know nothing and feel nothing, save a vague instinct of repulsion, then the seed of victory might be sown. This is hard indeed to do; yet if we ponder upon a chapter of ancient or mediaeval history, it seems to me some glimmer of a chance of doing so breaks in upon us. Take for example a century of the Byzantine Empire, weary yourselves with reading the names of the pedants, tyrants, and tax-gatherers to whom the terrible chain which long- dead Rome once forged, still gave the power of cheating people into thinking that they were necessary lords of the world. Turn then to the lands they governed, and read and forget a long string of the causeless murders of Northern and Saracen pirates and robbers. That is pretty much the sum of what so-called history has left us of the tale of those days—the stupid languor and the evil deeds of kings and scoundrels. Must we turn away then, and say that all was evil? How then did men live from day to day? How then did Europe grow into intelligence and freedom? It seems there were others than those of whom history (so called) has left us the names and the deeds. These, the raw material for the treasury and the slave- market, we now call 'the people,' and we know that they were working all that while. Yes, and that their work was not merely slaves' work, the meal-trough before them and the whip behind them; for though history (so called) has forgotten them, yet their work has not been forgotten, but has made another history—the history of Art. There is not an ancient city in the East or the West that does not bear some token of their grief, and joy, and hope. From Ispahan to Northumberland, there is no building built between the seventh and seventeenth centuries that does not show the influence of the labour of that oppressed and neglected herd of men. No one of them, indeed, rose high above his fellows. There was no Plato, or Shakespeare, or Michael Angelo amongst them. Yet scattered as it was among many men, how strong their thought was, how long it abided, how far it travelled!

And so it was ever through all those days when Art was so vigorous and progressive. Who can say how little we should know of many periods, but for their art? History (so called) has remembered the kings and warriors, because they destroyed; Art has remembered the people, because they created.

I think, then, that this knowledge we have of the life of past times gives us some token of the way we should take in meeting those honest and single-hearted men who above all things desire the world's progress, but whose minds are, as it were, sick on this point of the arts. Surely you may say to them: When all is gained that you (and we) so long for, what shall we do then? That great change which we are working for, each in his own way, will come like other changes, as a thief in the night, and will be with us before we know it; but let us imagine that its consummation has come suddenly and dramatically, acknowledged and hailed by all right- minded people; and what shall we do then, lest we begin once more to heap up fresh corruption for the woeful labour of ages once again? I say, as we turn away from the flagstaff where the new banner has been just run up; as we depart, our ears yet ringing with the blare of the heralds' trumpets that have proclaimed the new order of things, what shall we turn to then, what MUST we turn to then?

To what else, save to our work, our daily labour?

With what, then, shall we adorn it when we have become wholly free and reasonable? It is necessary toil, but shall it be toil only? Shall all we can do with it be to shorten the hours of that toil to the utmost, that the hours of leisure may be long beyond what men used to hope for? and what then shall we do with the leisure, if we say that all toil is irksome? Shall we sleep it all away?—Yes, and never wake up again, I should hope, in that case.

What shall we do then? what shall our necessary hours of labour bring forth?

That will be a question for all men in that day when many wrongs are righted, and when there will be no classes of degradation on whom the dirty work of the world can be shovelled; and if men's minds are still sick and loathe the arts, they will not be able to answer that question.

Once men sat under grinding tyrannies, amidst violence and fear so great, that nowadays we wonder how they lived through twenty-four hours of it, till we remember that then, as now, their daily labour was the main part of their lives, and that that daily labour was sweetened by the daily creation of Art; and shall we who are delivered from the evils they bore, live drearier days than they did? Shall men, who have come forth from so many tyrannies, bind themselves to yet another one, and become the slaves of nature, piling day upon day of hopeless, useless toil? Must this go on worsening till it comes to this at last—that the world shall have come into its inheritance, and with all foes conquered and nought to bind it, shall choose to sit down and labour for ever amidst grim ugliness? How, then, were all our hopes cheated, what a gulf of despair should we tumble into then?

In truth, it cannot be; yet if that sickness of repulsion to the arts were to go on hopelessly, nought else would be, and the extinction of the love of beauty and imagination would prove to be the extinction of civilisation. But that sickness the world will one day throw off, yet will, I believe, pass through many pains in so doing, some of which will look very like the death-throes of Art, and some, perhaps, will be grievous enough to the poor people of the world; since hard necessity, I doubt, works many of the world's changes, rather than the purblind striving to see, which we call the foresight of man.

Meanwhile, remember that I asked just now, what was amiss in Art or in ourselves that this sickness was upon us. Nothing is wrong or can be with Art in the abstract—that must always be good for mankind, or we are all wrong together: but with Art, as we of these latter days have known it, there is much wrong; nay, what are we here for to-night if that is not so? were not the schools of art founded all over the country some thirty years ago because we had found out that popular art was fading—or perhaps had faded out from amongst us?

As to the progress made since then in this country—and in this country only, if at all—it is hard for me to speak without being either ungracious or insincere, and yet speak I must. I say, then, that an apparent external progress in some ways is obvious, but I do not know how far that is hopeful, for time must try it, and prove whether it be a passing fashion or the first token of a real stir among the great mass of civilised men. To speak quite frankly, and as one friend to another, I must needs say that even as I say those words they seem too good to be true. And yet—who knows?—so wont are we to frame history for the future as well as for the past, so often are our eyes blind both when we look backward and when we look forward, because we have been gazing so intently at our own days, our own lines. May all be better than I think it!

At any rate let us count our gains, and set them against less hopeful signs of the times. In England, then—and as far as I know, in England only—painters of pictures have grown, I believe, more numerous, and certainly more conscientious in their work, and in some cases—and this more especially in England—have developed and expressed a sense of beauty which the world has not seen for the last three hundred years. This is certainly a very great gain, which is not easy to over-estimate, both for those who make the pictures and those who use them.

Furthermore, in England, and in England only, there has been a great improvement in architecture and the arts that attend it—arts which it was the special province of the afore-mentioned schools to revive and foster. This, also, is a considerable gain to the users of the works so made, but I fear a gain less important to most of those concerned in making them.

Against these gains we must, I am very sorry to say, set the fact not easy to be accounted for, that the rest of the civilised world (so called) seems to have done little more than stand still in these matters; and that among ourselves these improvements have concerned comparatively few people, the mass of our population not being in the least touched by them; so that the great bulk of our architecture—the art which most depends on the taste of the people at large—grows worse and worse every day. I must speak also of another piece of discouragement before I go further. I daresay many of you will remember how emphatically those who first had to do with the movement of which the foundation of our art-schools was a part, called the attention of our pattern-designers to the beautiful works of the East. This was surely most well judged of them, for they bade us look at an art at once beautiful, orderly, living in our own day, and above all, popular. Now, it is a grievous result of the sickness of civilisation that this art is fast disappearing before the advance of western conquest and commerce—fast, and every day faster. While we are met here in Birmingham to further the spread of education in art, Englishmen in India are, in their short- sightedness, actively destroying the very sources of that education- -jewellery, metal-work, pottery, calico-printing, brocade-weaving, carpet-making—all the famous and historical arts of the great peninsula have been for long treated as matters of no importance, to be thrust aside for the advantage of any paltry scrap of so-called commerce; and matters are now speedily coming to an end there. I daresay some of you saw the presents which the native Princes gave to the Prince of Wales on the occasion of his progress through India. I did myself, I will not say with great disappointment, for I guessed what they would be like, but with great grief, since there was scarce here and there a piece of goods among these costly gifts, things given as great treasures, which faintly upheld the ancient fame of the cradle of the industrial arts. Nay, in some cases, it would have been laughable, if it had not been so sad, to see the piteous simplicity with which the conquered race had copied the blank vulgarity of their lords. And this deterioration we are now, as I have said, actively engaged in forwarding. I have read a little book, {3} a handbook to the Indian Court of last year's Paris Exhibition, which takes the occasion of noting the state of manufactures in India one by one. 'Art manufactures,' you would call them; but, indeed, all manufactures are, or were, 'art manufactures' in India. Dr. Birdwood, the author of this book, is of great experience in Indian life, a man of science, and a lover of the arts. His story, by no means a new one to me, or others interested in the East and its labour, is a sad one indeed. The conquered races in their hopelessness are everywhere giving up the genuine practice of their own arts, which we know ourselves, as we have indeed loudly proclaimed, are founded on the truest and most natural principles. The often-praised perfection of these arts is the blossom of many ages of labour and change, but the conquered races are casting it aside as a thing of no value, so that they may conform themselves to the inferior art, or rather the lack of art, of their conquerors. In some parts of the country the genuine arts are quite destroyed; in many others nearly so; in all they have more or less begun to sicken. So much so is this the case, that now for some time the Government has been furthering this deterioration. As for example, no doubt with the best intentions, and certainly in full sympathy with the general English public, both at home and in India, the Government is now manufacturing cheap Indian carpets in the Indian gaols. I do not say that it is a bad thing to turn out real work, or works of art, in gaols; on the contrary, I think it good if it be properly managed. But in this case, the Government, being, as I said, in full sympathy with the English public, has determined that it will make its wares cheap, whether it make them nasty or not. Cheap and nasty they are, I assure you; but, though they are the worst of their kind, they would not be made thus, if everything did not tend the same way. And it is the same everywhere and with all Indian manufactures, till it has come to this—that these poor people have all but lost the one distinction, the one glory that conquest had left them. Their famous wares, so praised by those who thirty years ago began to attempt the restoration of popular art amongst ourselves, are no longer to be bought at reasonable prices in the common market, but must be sought for and treasured as precious relics for the museums we have founded for our art education. In short, their art is dead, and the commerce of modern civilisation has slain it.

What is going on in India is also going on, more or less, all over the East; but I have spoken of India chiefly because I cannot help thinking that we ourselves are responsible for what is happening there. Chance-hap has made us the lords of many millions out there; surely, it behoves us to look to it, lest we give to the people whom we have made helpless scorpions for fish and stones for bread.

But since neither on this side, nor on any other, can art be amended, until the countries that lead civilisation are themselves in a healthy state about it, let us return to the consideration of its condition among ourselves. And again I say, that obvious as is that surface improvement of the arts within the last few years, I fear too much that there is something wrong about the root of the plant to exult over the bursting of its February buds.

I have just shown you for one thing that lovers of Indian and Eastern Art, including as they do the heads of our institutions for art education, and I am sure many among what are called the governing classes, are utterly powerless to stay its downward course. The general tendency of civilisation is against them, and is too strong for them.

Again, though many of us love architecture dearly, and believe that it helps the healthiness both of body and soul to live among beautiful things, we of the big towns are mostly compelled to live in houses which have become a byword of contempt for their ugliness and inconvenience. The stream of civilisation is against us, and we cannot battle against it.

Once more those devoted men who have upheld the standard of truth and beauty amongst us, and whose pictures, painted amidst difficulties that none but a painter can know, show qualities of mind unsurpassed in any age—these great men have but a narrow circle that can understand their works, and are utterly unknown to the great mass of the people: civilisation is so much against them, that they cannot move the people.

Therefore, looking at all this, I cannot think that all is well with the root of the tree we are cultivating. Indeed, I believe that if other things were but to stand still in the world, this improvement before mentioned would lead to a kind of art which, in that impossible case, would be in a way stable, would perhaps stand still also. This would be an art cultivated professedly by a few, and for a few, who would consider it necessary—a duty, if they could admit duties—to despise the common herd, to hold themselves aloof from all that the world has been struggling for from the first, to guard carefully every approach to their palace of art. It would be a pity to waste many words on the prospect of such a school of art as this, which does in a way, theoretically at least, exist at present, and has for its watchword a piece of slang that does not mean the harmless thing it seems to mean—art for art's sake. Its fore- doomed end must be, that art at last will seem too delicate a thing for even the hands of the initiated to touch; and the initiated must at last sit still and do nothing—to the grief of no one.

Well, certainly, if I thought you were come here to further such an art as this I could not have stood up and called you FRIENDS; though such a feeble folk as I have told you of one could scarce care to call foes.

Yet, as I say, such men exist, and I have troubled you with speaking of them, because I know that those honest and intelligent people, who are eager for human progress, and yet lack part of the human senses, and are anti-artistic, suppose that such men are artists, and that this is what art means, and what it does for people, and that such a narrow, cowardly life is what we, fellow-handicraftsmen, aim at. I see this taken for granted continually, even by many who, to say truth, ought to know better, and I long to put the slur from off us; to make people understand that we, least of all men, wish to widen the gulf between the classes, nay, worse still, to make new classes of elevation, and new classes of degradation—new lords and new slaves; that we, least of all men, want to cultivate the 'plant called man' in different ways—here stingily, there wastefully: I wish people to understand that the art we are striving for is a good thing which all can share, which will elevate all; in good sooth, if all people do not soon share it there will soon be none to share; if all are not elevated by it, mankind will lose the elevation it has gained. Nor is such an art as we long for a vain dream; such an art once was in times that were worse than these, when there was less courage, kindness, and truth in the world than there is now; such an art there will be hereafter, when there will be more courage, kindness, and truth than there is now in the world.

Let us look backward in history once more for a short while, and then steadily forward till my words are done: I began by saying that part of the common and necessary advice given to Art students was to study antiquity; and no doubt many of you, like me, have done so; have wandered, for instance, through the galleries of the admirable museum of South Kensington, and, like me, have been filled with wonder and gratitude at the beauty which has been born from the brain of man. Now, consider, I pray you, what these wonderful works are, and how they were made; and indeed, it is neither in extravagance nor without due meaning that I use the word 'wonderful' in speaking of them. Well, these things are just the common household goods of those past days, and that is one reason why they are so few and so carefully treasured. They were common things in their own day, used without fear of breaking or spoiling—no rarities then—and yet we have called them 'wonderful.'

And how were they made? Did a great artist draw the designs for them—a man of cultivation, highly paid, daintily fed, carefully housed, wrapped up in cotton wool, in short, when he was not at work? By no means. Wonderful as these works are, they were made by 'common fellows,' as the phrase goes, in the common course of their daily labour. Such were the men we honour in honouring those works. And their labour—do you think it was irksome to them? Those of you who are artists know very well that it was not; that it could not be. Many a grin of pleasure, I'll be bound—and you will not contradict me—went to the carrying through of those mazes of mysterious beauty, to the invention of those strange beasts and birds and flowers that we ourselves have chuckled over at South Kensington. While they were at work, at least, these men were not unhappy, and I suppose they worked most days, and the most part of the day, as we do.

Or those treasures of architecture that we study so carefully nowadays—what are they? how were they made? There are great minsters among them, indeed, and palaces of kings and lords, but not many; and, noble and awe-inspiring as these may be, they differ only in size from the little grey church that still so often makes the commonplace English landscape beautiful, and the little grey house that still, in some parts of the country at least, makes an English village a thing apart, to be seen and pondered on by all who love romance and beauty. These form the mass of our architectural treasures, the houses that everyday people lived in, the unregarded churches in which they worshipped.

And, once more, who was it that designed and ornamented them? The great architect, carefully kept for the purpose, and guarded from the common troubles of common men? By no means. Sometimes, perhaps, it was the monk, the ploughman's brother; oftenest his other brother, the village carpenter, smith, mason, what not—'a common fellow,' whose common everyday labour fashioned works that are to-day the wonder and despair of many a hard-working 'cultivated' architect. And did he loathe his work? No, it is impossible. I have seen, as we most of us have, work done by such men in some out-of-the-way hamlet—where to-day even few strangers ever come, and whose people seldom go five miles from their own doors; in such places, I say, I have seen work so delicate, so careful, and so inventive, that nothing in its way could go further. And I will assert, without fear of contradiction, that no human ingenuity can produce work such as this without pleasure being a third party to the brain that conceived and the hand that fashioned it. Nor are such works rare. The throne of the great Plantagenet, or the great Valois, was no more daintily carved than the seat of the village mass-john, or the chest of the yeoman's good-wife.

So, you see, there was much going on to make life endurable in those times. Not every day, you may be sure, was a day of slaughter and tumult, though the histories read almost as if it were so; but every day the hammer chinked on the anvil, and the chisel played about the oak beam, and never without some beauty and invention being born of it, and consequently some human happiness.

That last word brings me to the very kernel and heart of what I have come here to say to you, and I pray you to think of it most seriously—not as to my words, but as to a thought which is stirring in the world, and will one day grow into something.

That thing which I understand by real art is the expression by man of his pleasure in labour. I do not believe he can be happy in his labour without expressing that happiness; and especially is this so when he is at work at anything in which he specially excels. A most kind gift is this of nature, since all men, nay, it seems all things too, must labour; so that not only does the dog take pleasure in hunting, and the horse in running, and the bird in flying, but so natural does the idea seem to us, that we imagine to ourselves that the earth and the very elements rejoice in doing their appointed work; and the poets have told us of the spring meadows smiling, of the exultation of the fire, of the countless laughter of the sea.

Nor until these latter days has man ever rejected this universal gift, but always, when he has not been too much perplexed, too much bound by disease or beaten down by trouble, has striven to make his work at least happy. Pain he has too often found in his pleasure, and weariness in his rest, to trust to these. What matter if his happiness lie with what must be always with him—his work?

And, once more, shall we, who have gained so much, forego this gain, the earliest, most natural gain of mankind? If we have to a great extent done so, as I verily fear we have, what strange fog-lights must have misled us; or rather let me say, how hard pressed we must have been in the battle with the evils we have overcome, to have forgotten the greatest of all evils. I cannot call it less than that. If a man has work to do which he despises, which does not satisfy his natural and rightful desire for pleasure, the greater part of his life must pass unhappily and without self-respect. Consider, I beg of you, what that means, and what ruin must come of it in the end.

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