areappealswhichshouldbemadetothepublic.Theartwhichhasfulfilledtheconditionsofbeautyhasfulfilledallconditions：
　　itisforthecritictoteachthepeoplehowtofindinthecalmofsuchartthehighestexpressionoftheirownmoststormypassions.
　　’Ihavenoreverence，’saidKeats，’forthepublic，norforanythinginexistencebuttheEternalBeing，thememoryofgreatmenandtheprincipleofBeauty.’
　　SuchthenistheprinciplewhichIbelievetobeguidingandunderlyingourEnglishRenaissance，aRenaissancemany—sidedandwonderful，productiveofstrongambitionsandloftypersonalities，yetforallitssplendidachievementsinpoetryandinthedecorativeartsandinpainting，foralltheincreasedcomelinessandgraceofdress，andthefurnitureofhousesandthelike，notcomplete.Fortherecanbenogreatsculpturewithoutabeautifulnationallife，andthecommercialspiritofEnglandhaskilledthat;nogreatdramawithoutanoblenationallife，andthecommercialspiritofEnglandhaskilledthattoo.
　　Itisnotthattheflawlessserenityofmarblecannotbeartheburdenofthemodernintellectualspirit，orbecomeinstinctwiththefireofromanticpassion—thetombofDukeLorenzoandthechapeloftheMedicishowusthat—butitisthat，asTheophileGautierusedtosay，thevisibleworldisdead，LEMONDEVISIBLEA
　　DISPARU.
　　Norisitagainthatthenovelhaskilledtheplay，assomecriticswouldpersuadeus—theromanticmovementofFranceshowsusthat.
　　TheworkofBalzacandofHugogrewupsidebysidetogether;nay，more，werecomplementarytoeachother，thoughneitherofthemsawit.Whileallotherformsofpoetrymayflourishinanignobleage，thesplendidindividualismofthelyrist，fedbyitsownpassion，andlitbyitsownpower，maypassasapillaroffireaswellacrossthedesertasacrossplacesthatarepleasant.Itisnonethelessgloriousthoughnomanfollowit—nay，bythegreatersublimityofitslonelinessitmaybequickenedintoloftierutteranceandintensifiedintoclearersong.Fromthemeansqualorofthesordidlifethatlimitshim，thedreamerortheidyllistmaysoaronpoesy’sviewlesswings，maytraversewithfawn—skinandspearthemoonlitheightsofCithaeronthoughFaunandBassariddancetherenomore.LikeKeatshemaywanderthroughtheold—worldforestsofLatmos，orstandlikeMorrisonthegalley’sdeckwiththeVikingwhenkingandgalleyhavelongsincepassedaway.Butthedramaisthemeeting—placeofartandlife;
　　itdeals，asMazzinisaid，notmerelywithman，butwithsocialman，withmaninhisrelationtoGodandtoHumanity.Itistheproductofaperiodofgreatnationalunitedenergy;itisimpossiblewithoutanoblepublic，andbelongstosuchagesastheageofElizabethinLondonandofPericlesatAthens;itispartofsuchloftymoralandspiritualardourascametoGreekafterthedefeatofthePersianfleet，andtoEnglishmanafterthewreckoftheArmadaofSpain.
　　Shelleyfelthowincompleteourmovementwasinthisrespect，andhasshowninonegreattragedybywhatterrorandpityhewouldhavepurifiedourage;butinspiteofTHECENCIthedramaisoneoftheartisticformsthroughwhichthegeniusoftheEnglandofthiscenturyseeksinvaintofindoutletandexpression.Hehashadnoworthyimitators.
　　Itisrather，perhaps，toyouthatweshouldturntocompleteandperfectthisgreatmovementofours，forthereissomethingHellenicinyourairandworld，somethingthathasaquickerbreathofthejoyandpowerofElizabeth’sEnglandaboutitthanourancientcivilisationcangiveus.Foryou，atleast，areyoung;
　　’nohungrygenerationstreadyoudown，’andthepastdoesnotwearyyouwiththeintolerableburdenofitsmemoriesnormockyouwiththeruinsofabeauty，thesecretofwhosecreationyouhavelost.
　　Thatveryabsenceoftradition，whichMr.Ruskinthoughtwouldrobyourriversoftheirlaughterandyourflowersoftheirlight，mayberatherthesourceofyourfreedomandyourstrength.
　　Tospeakinliteraturewiththeperfectrectitudeandinsoucianceofthemovementsofanimals，andtheunimpeachablenessofthesentimentoftreesinthewoodsandgrassbytheroadside，hasbeendefinedbyoneofyourpoetsasaflawlesstriumphofart.Itisatriumphwhichyouaboveallnationsmaybedestinedtoachieve.
　　ForthevoicesthathavetheirdwellinginseaandmountainarenotthechosenmusicofLibertyonly;othermessagesarethereinthewonderofwind—sweptheightandthemajestyofsilentdeep—
　　messagesthat，ifyouwillbutlistentothem，mayyieldyouthesplendourofsomenewimagination，themarvelofsomenewbeauty.
　　’Iforesee，’saidGoethe，’thedawnofanewliteraturewhichallpeoplemayclaimastheirown，forallhavecontributedtoitsfoundation.’If，then，thisisso，andifthematerialsforacivilisationasgreatasthatofEuropelieallaroundyou，whatprofit，youwillaskme，willallthisstudyofourpoetsandpaintersbetoyou？Imightanswerthattheintellectcanbeengagedwithoutdirectdidacticobjectonanartisticandhistoricalproblem;thatthedemandoftheintellectismerelytofeelitselfalive;thatnothingwhichhaseverinterestedmenorwomencanceasetobeafitsubjectforculture.
　　ImightremindyouofwhatallEuropeowestothesorrowofasingleFlorentineinexileatVerona，ortotheloveofPetrarchbythatlittlewellinSouthernFrance;nay，more，howeveninthisdull，materialisticagethesimpleexpressionofanoldman’ssimplelife，passedawayfromtheclamourofgreatcitiesamidthelakesandmistyhillsofCumberland，hasopenedoutforEnglandtreasuresofnewjoycomparedwithwhichthetreasuresofherluxuryareasbarrenastheseawhichshehasmadeherhighway，andasbitterasthefirewhichshewouldmakeherslave.
　　ButIthinkitwillbringyousomethingbesidesthis，somethingthatistheknowledgeofrealstrengthinart：notthatyoushouldimitatetheworksofthesemen;buttheirartisticspirit，theirartisticattitude，Ithinkyoushouldabsorbthat.
　　Forinnations，asinindividuals，ifthepassionforcreationbenotaccompaniedbythecritical，theaestheticfacultyalso，itwillbesuretowasteitsstrengthaimlessly，failingperhapsintheartisticspiritofchoice，orinthemistakingoffeelingforform，orinthefollowingoffalseideals.
　　Forthevariousspiritualformsoftheimaginationhaveanaturalaffinitywithcertainsensuousformsofart—andtodiscernthequalitiesofeachart，tointensifyaswellitslimitationsasitspowersofexpression，isoneoftheaimsthatculturesetsbeforeus.Itisnotanincreasedmoralsense，anincreasedmoralsupervisionthatyourliteratureneeds.Indeed，oneshouldnevertalkofamoraloranimmoralpoem—poemsareeitherwellwrittenorbadlywritten，thatisall.And，indeed，anyelementofmoralsorimpliedreferencetoastandardofgoodorevilinartisoftenasignofacertainincompletenessofvision，oftenanoteofdiscordintheharmonyofanimaginativecreation;forallgoodworkaimsatapurelyartisticeffect.’Wemustbecareful，’saidGoethe，’nottobealwayslookingforculturemerelyinwhatisobviouslymoral.Everythingthatisgreatpromotescivilisationassoonasweareawareofit.’
　　But，asinyourcitiessoinyourliterature，itisapermanentcanonandstandardoftaste，anincreasedsensibilitytobeauty（ifImaysayso）thatislacking.Allnobleworkisnotnationalmerely，butuniversal.Thepoliticalindependenceofanationmustnotbeconfusedwithanyintellectualisolation.Thespiritualfreedom，indeed，yourowngenerouslivesandliberalairwillgiveyou.Fromusyouwilllearntheclassicalrestraintofform.
　　Forallgreatartisdelicateart，roughnesshavingverylittletodowithstrength，andharshnessverylittletodowithpower.’Theartist，’asMr.Swinburnesays，’mustbeperfectlyarticulate.’
　　Thislimitationisfortheartistperfectfreedom：itisatoncetheoriginandthesignofhisstrength.Sothatallthesuprememastersofstyle—Dante，Sophocles，Shakespeare—arethesuprememastersofspiritualandintellectualvisionalso.
　　Loveartforitsownsake，andthenallthingsthatyouneedwillbeaddedtoyou.
　　Thisdevotiontobeautyandtothecreationofbeautifulthingsisthetestofallgreatcivilisednations.Philosophymayteachustobearwithequanimitythemisfortunesofourneighbours，andscienceresolvethemoralsenseintoasecretionofsugar，butartiswhatmakesthelifeofeachcitizenasacramentandnotaspeculation，artiswhatmakesthelifeofthewholeraceimmortal.
　　Forbeautyistheonlythingthattimecannotharm.Philosophiesfallawaylikesand，andcreedsfollowoneanotherlikethewitheredleavesofautumn;butwhatisbeautifulisajoyforallseasonsandapossessionforalleternity.
　　Warsandtheclashofarmiesandthemeetingofmeninbattlebytrampledfieldorleagueredcity，andtherisingofnationstheremustalwaysbe.ButIthinkthatart，bycreatingacommonintellectualatmospherebetweenallcountries，might—ifitcouldnotovershadowtheworldwiththesilverwingsofpeace—atleastmakemensuchbrothersthattheywouldnotgoouttoslayoneanotherforthewhimorfollyofsomekingorminister，astheydoinEurope.FraternitywouldcomenomorewiththehandsofCain，norLibertybetrayfreedomwiththekissofAnarchy;fornationalhatredsarealwaysstrongestwherecultureislowest.
　　’HowcouldI？’saidGoethe，whenreproachedfornotwritinglikeKorneragainsttheFrench.’HowcouldI，towhombarbarismandculturealoneareofimportance，hateanationwhichisamongthemostcultivatedoftheearth，anationtowhichIoweagreatpartofmyowncultivation？’
　　Mightyempires，too，theremustalwaysbeaslongaspersonalambitionandthespiritoftheageareone，butartatleastistheonlyempirewhichanation’senemiescannottakefromherbyconquest，butwhichistakenbysubmissiononly.ThesovereigntyofGreeceandRomeisnotyetpassedaway，thoughthegodsoftheonebedeadandtheeaglesoftheothertired.
　　AndweinourRenaissanceareseekingtocreateasovereigntythatwillstillbeEngland’swhenheryellowleopardshavegrownwearyofwarsandtheroseofhershieldiscrimsonednomorewiththebloodofbattle;andyou，too，absorbingintothegenerousheartofagreatpeoplethispervadingartisticspirit，willcreateforyourselvessuchrichesasyouhaveneveryetcreated，thoughyourlandbeanetworkofrailwaysandyourcitiestheharboursforthegalleysoftheworld.
　　Iknow，indeed，thatthedivinenaturalprescienceofbeautywhichistheinalienableinheritanceofGreekandItalianisnotourinheritance.Forsuchaninformingandpresidingspiritofarttoshieldusfromallharshandalieninfluences，weoftheNorthernracesmustturnrathertothatstrainedself—consciousnessofouragewhich，asitisthekey—noteofallourromanticart，mustbethesourceofallornearlyallourculture.Imeanthatintellectualcuriosityofthenineteenthcenturywhichisalwayslookingforthesecretofthelifethatstilllingersroundoldandbygoneformsofculture.Ittakesfromeachwhatisserviceableforthemodernspirit—fromAthensitswonderwithoutitsworship，fromVeniceitssplendourwithoutitssin.Thesamespiritisalwaysanalysingitsownstrengthanditsownweakness，countingwhatitowestoEastandtoWest，totheolive—treesofColonusandtothepalm—treesofLebanon，toGethsemaneandtothegardenofProserpine.
　　Andyetthetruthsofartcannotbetaught：theyarerevealedonly，revealedtonatureswhichhavemadethemselvesreceptiveofallbeautifulimpressionsbythestudyandworshipofallbeautifulthings.AndhencetheenormousimportancegiventothedecorativeartsinourEnglishRenaissance;henceallthatmarvelofdesignthatcomesfromthehandofEdwardBurne—Jones，allthatweavingoftapestryandstainingofglass，thatbeautifulworkinginclayandmetalandwoodwhichweowetoWilliamMorris，thegreatesthandicraftsmanwehavehadinEnglandsincethefourteenthcentury.
　　So，inyearstocometherewillbenothinginanyman’shousewhichhasnotgivendelighttoitsmakeranddoesnotgivedelighttoitsuser.Thechildren，likethechildrenofPlato’sperfectcity，willgrowup’inasimpleatmosphereofallfairthings’—IquotefromthepassageintheREPUBLIC—’asimpleatmosphereofallfairthings，wherebeauty，whichisthespiritofart，willcomeoneyeandearlikeafreshbreathofwindthatbringshealthfromaclearupland，andinsensiblyandgraduallydrawthechild’ssoulintoharmonywithallknowledgeandallwisdom，sothathewilllovewhatisbeautifulandgood，andhatewhatisevilandugly（fortheyalwaysgotogether）longbeforeheknowsthereasonwhy;andthenwhenreasoncomeswillkissheronthecheekasafriend.’
　　ThatiswhatPlatothoughtdecorativeartcoulddoforanation，feelingthatthesecretnotofphilosophymerelybutofallgraciousexistencemightbeexternallyhiddenfromanyonewhoseyouthhadbeenpassedinuncomelyandvulgarsurroundings，andthatthebeautyofformandcoloureven，ashesays，inthemeanestvesselsofthehouse，willfinditswayintotheinmostplacesofthesoulandleadtheboynaturallytolookforthatdivineharmonyofspirituallifeofwhichartwastohimthematerialsymbolandwarrant.
　　Preludeindeedtoallknowledgeandallwisdomwillthisloveofbeautifulthingsbeforus;yettherearetimeswhenwisdombecomesaburdenandknowledgeisonewithsorrow：foraseverybodyhasitsshadowsoeverysoulhasitsscepticism.Insuchdreadmomentsofdiscordanddespairwhereshouldwe，ofthistornandtroubledage，turnourstepsifnottothatsecurehouseofbeautywherethereisalwaysalittleforgetfulness，alwaysagreatjoy;tothatCITTEDIVINA，astheoldItalianheresycalledit，thedivinecitywhereonecanstand，thoughonlyforabriefmoment，apartfromthedivisionandterroroftheworldandthechoiceoftheworldtoo？
　　ThisisthatCONSOLATIONDESARTSwhichisthekey—noteofGautier’spoetry，thesecretofmodernlifeforeshadowed—asindeedwhatinourcenturyisnot？—byGoethe.YourememberwhathesaidtotheGermanpeople：’Onlyhavethecourage，’hesaid，’togiveyourselvesuptoyourimpressions，allowyourselvestobedelighted，moved，elevated，nayinstructed，inspiredforsomethinggreat.’Thecouragetogiveyourselvesuptoyourimpressions：
　　yes，thatisthesecretoftheartisticlife—forwhilearthasbeendefinedasanescapefromthetyrannyofthesenses，itisanescaperatherfromthetyrannyofthesoul.Butonlytothosewhoworshipheraboveallthingsdoessheeverrevealhertruetreasure：elsewillshebeaspowerlesstoaidyouasthemutilatedVenusoftheLouvrewasbeforetheromanticbutscepticalnatureofHeine.
　　AndindeedIthinkitwouldbeimpossibletooverratethegainthatmightfollowifwehadaboutusonlywhatgavepleasuretothemakerofitandgivespleasuretoitsuser，thatbeingthesimplestofallrulesaboutdecoration.Onething，atleast，Ithinkitwoulddoforus：thereisnosurertestofagreatcountrythanhownearitstandstoitsownpoets;butbetweenthesingersofourdayandtheworkerstowhomtheywouldsingthereseemstobeanever—wideninganddividingchasm，achasmwhichslanderandmockerycannottraverse，butwhichisspannedbytheluminouswingsoflove.
　　AndofsuchloveIthinkthattheabidingpresenceinourhousesofnobleimaginativeworkwouldbethesurestseedandpreparation.I
　　donotmeanmerelyasregardsthatdirectliteraryexpressionofartbywhich，fromthelittlered—and—blackcruseofoilorwine，aGreekboycouldlearnofthelionlikesplendourofAchilles，ofthestrengthofHectorandthebeautyofParisandthewonderofHelen，longbeforehestoodandlistenedincrowdedmarket—placeorintheatreofmarble;orbywhichanItalianchildofthefifteenthcenturycouldknowofthechastityofLucreceandthedeathofCamillafromcarvendoorwayandfrompaintedchest.Forthegoodwegetfromartisnotwhatwelearnfromit;itiswhatwebecomethroughit.ItsrealinfluencewillbeingivingthemindthatenthusiasmwhichisthesecretofHellenism，accustomingittodemandfromartallthatartcandoinrearrangingthefactsofcommonlifeforus—whetheritbebygivingthemostspiritualinterpretationofone’sownmomentsofhighestpassionorthemostsensuousexpressionofthosethoughtsthatarethefarthestremovedfromsense;inaccustomingittolovethethingsoftheimaginationfortheirownsake，andtodesirebeautyandgraceinallthings.
　　Forhewhodoesnotloveartinallthingsdoesnotloveitatall，andhewhodoesnotneedartinallthingsdoesnotneeditatall.
　　IwillnotdwellhereonwhatIamsurehasdelightedyouallinourgreatGothiccathedrals.Imeanhowtheartistofthattime，handicraftsmanhimselfinstoneorglass，foundthebestmotivesforhisart，alwaysreadyforhishandandalwaysbeautiful，inthedailyworkoftheartificershesawaroundhim—asinthoselovelywindowsofChartres—wherethedyerdipsinthevatandthepottersitsatthewheel，andtheweaverstandsattheloom：realmanufacturersthese，workerswiththehand，andentirelydelightfultolookat，notlikethesmugandvapidshopmanofourtime，whoknowsnothingoftheweborvasehesells，exceptthatheischargingyoudoubleitsvalueandthinkingyouafoolforbuyingit.NorcanIbutjustnote，inpassing，theimmenseinfluencethedecorativeworkofGreeceandItalyhadonitsartists，theoneteachingthesculptorthatrestraininginfluenceofdesignwhichisthegloryoftheParthenon，theotherkeepingpaintingalwaystruetoitsprimary，pictorialconditionofnoblecolourwhichisthesecretoftheschoolofVenice;forIwishrather，inthislectureatleast，todwellontheeffectthatdecorativearthasonhumanlife—onitssocialnotitspurelyartisticeffect.
　　Therearetwokindsofmenintheworld，twogreatcreeds，twodifferentformsofnatures：mentowhomtheendoflifeisaction，andmentowhomtheendoflifeisthought.Asregardsthelatter，whoseekforexperienceitselfandnotforthefruitsofexperience，whomustburnalwayswithoneofthepassionsofthisfiery—colouredworld，whofindlifeinterestingnotforitssecretbutforitssituations，foritspulsationsandnotforitspurpose;
　　thepassionforbeautyengenderedbythedecorativeartswillbetothemmoresatisfyingthananypoliticalorreligiousenthusiasm，anyenthusiasmforhumanity，anyecstasyorsorrowforlove.Forartcomestooneprofessingprimarilytogivenothingbutthehighestqualitytoone’smoments，andforthosemoments’sake.Sofarforthosetowhomtheendoflifeisthought.Asregardstheothers，whoholdthatlifeisinseparablefromlabour，tothemshouldthismovementbespeciallydear：for，ifourdaysarebarrenwithoutindustry，industrywithoutartisbarbarism.
　　Hewersofwoodanddrawersofwatertheremustbealwaysindeedamongus.Ourmodernmachineryhasnotmuchlightenedthelabourofmanafterall：butatleastletthepitcherthatstandsbythewellbebeautifulandsurelythelabourofthedaywillbelightened：letthewoodbemadereceptiveofsomelovelyform，somegraciousdesign，andtherewillcomenolongerdiscontentbutjoytothetoiler.Forwhatisdecorationbuttheworker’sexpressionofjoyinhiswork？Andnotjoymerely—thatisagreatthingyetnotenough—butthatopportunityofexpressinghisownindividualitywhich，asitistheessenceofalllife，isthesourceofallart.’Ihavetried，’IrememberWilliamMorrissayingtomeonce，’Ihavetriedtomakeeachofmyworkersanartist，andwhenIsayanartistImeanaman.’Fortheworkerthen，handicraftsmanofwhateverkindheis，artisnolongertobeapurplerobewovenbyaslaveandthrownoverthewhitenedbodyofaleprouskingtohideandtoadornthesinofhisluxury，butratherthebeautifulandnobleexpressionofalifethathasinitsomethingbeautifulandnoble.
　　Andsoyoumustseekoutyourworkmanandgivehim，asfaraspossible，therightsurroundings，forrememberthattherealtestandvirtueofaworkmanisnothisearnestnessnorhisindustryeven，buthispowerofdesignmerely;andthat’designisnottheoffspringofidlefancy：itisthestudiedresultofaccumulativeobservationanddelightfulhabit.’Alltheteachingintheworldisofnoavailifyoudonotsurroundyourworkmanwithhappyinfluencesandwithbeautifulthings.ItisimpossibleforhimtohaverightideasaboutcolourunlessheseesthelovelycoloursofNatureunspoiled;impossibleforhimtosupplybeautifulincidentandactionunlessheseesbeautifulincidentandactionintheworldabouthim.
　　Fortocultivatesympathyyoumustbeamonglivingthingsandthinkingaboutthem，andtocultivateadmirationyoumustbeamongbeautifulthingsandlookingatthem.’ThesteelofToledoandthesilkofGenoadidbutgivestrengthtooppressionandlustretopride，’asMr.Ruskinsays;letitbeforyoutocreateanartthatismadebythehandsofthepeopleforthejoyofthepeople，topleasetheheartsofthepeople，too;anartthatwillbeyourexpressionofyourdelightinlife.Thereisnothing’incommonlifetoomean，incommonthingstootrivialtobeennobledbyyourtouch’;nothinginlifethatartcannotsanctify.
　　Youhaveheard，Ithink，afewofyou，oftwoflowersconnectedwiththeaestheticmovementinEngland，andsaid（Iassureyou，erroneously）tobethefoodofsomeaestheticyoungmen.Well，letmetellyouthatthereasonwelovethelilyandthesunflower，inspiteofwhatMr.Gilbertmaytellyou，isnotforanyvegetablefashionatall.ItisbecausethesetwolovelyflowersareinEnglandthetwomostperfectmodelsofdesign，themostnaturallyadaptedfordecorativeart—thegaudyleoninebeautyoftheoneandthepreciouslovelinessoftheothergivingtotheartistthemostentireandperfectjoy.Andsowithyou：lettherebenoflowerinyourmeadowsthatdoesnotwreatheitstendrilsaroundyourpillows，nolittleleafinyourTitanforeststhatdoesnotlenditsformtodesign，nocurvingsprayofwildroseorbrierthatdoesnotliveforeverincarvenarchorwindowormarble，nobirdinyourairthatisnotgivingtheiridescentwonderofitscolour，theexquisitecurvesofitswingsinflight，tomakemorepreciousthepreciousnessofsimpleadornment.
　　Wespendourdays，eachoneofus，inlookingforthesecretoflife.Well，thesecretoflifeisinart.
　　HOUSEDECORATION
　　INmylastlectureIgaveyousomethingofthehistoryofArtinEngland.IsoughttotracetheinfluenceoftheFrenchRevolutionuponitsdevelopment.IsaidsomethingofthesongofKeatsandtheschoolofthepre—Raphaelites.ButIdonotwanttoshelterthemovement，whichIhavecalledtheEnglishRenaissance，underanypalladiumhowevernoble，oranynamehoweverrevered.Therootsofithave，indeed，tobesoughtforinthingsthathavelongpassedaway，andnot，assomesuppose，inthefancyofafewyoungmen—althoughIamnotaltogethersurethatthereisanythingmuchbetterthanthefancyofafewyoungmen.
　　WhenIappearedbeforeyouonapreviousoccasion，IhadseennothingofAmericanartsavetheDoriccolumnsandCorinthianchimney—potsvisibleonyourBroadwayandFifthAvenue.Sincethen，Ihavebeenthroughyourcountrytosomefiftyorsixtydifferentcities，Ithink.Ifindthatwhatyourpeopleneedisnotsomuchhighimaginativeartbutthatwhichhallowsthevesselsofeverydayuse.Isupposethatthepoetwillsingandtheartistwillpaintregardlesswhethertheworldpraisesorblames.Hehashisownworldandisindependentofhisfellow—men.Butthehandicraftsmanisdependentonyourpleasureandopinion.Heneedsyourencouragementandhemusthavebeautifulsurroundings.Yourpeopleloveartbutdonotsufficientlyhonourthehandicraftsman.
　　Ofcourse，thosemillionaireswhocanpillageEuropefortheirpleasureneedhavenocaretoencouragesuch;butIspeakforthosewhosedesireforbeautifulthingsislargerthantheirmeans.I
　　findthatonegreattroublealloveristhatyourworkmenarenotgiventonobledesigns.Youcannotbeindifferenttothis，becauseArtisnotsomethingwhichyoucantakeorleave.Itisanecessityofhumanlife.
　　Andwhatisthemeaningofthisbeautifuldecorationwhichwecallart？Inthefirstplace，itmeansvaluetotheworkmananditmeansthepleasurewhichhemustnecessarilytakeinmakingabeautifulthing.Themarkofallgoodartisnotthatthethingdoneisdoneexactlyorfinely，formachinerymaydoasmuch，butthatitisworkedoutwiththeheadandtheworkman’sheart.I
　　cannotimpressthepointtoofrequentlythatbeautifulandrationaldesignsarenecessaryinallwork.Ididnotimagine，untilIwentintosomeofyoursimplercities，thattherewassomuchbadworkdone.Ifound，whereIwent，badwall—papershorriblydesigned，andcolouredcarpets，andthatoldoffenderthehorse—hairsofa，whosestolidlookofindifferenceisalwayssodepressing.Ifoundmeaninglesschandeliersandmachine—madefurniture，generallyofrosewood，whichcreakeddismallyundertheweightoftheubiquitousinterviewer.Icameacrossthesmallironstovewhichtheyalwayspersistindecoratingwithmachine—madeornaments，andwhichisasgreataboreasawetdayoranyotherparticularlydreadfulinstitution.Whenunusualextravagancewasindulgedin，itwasgarnishedwithtwofuneralurns.
　　Itmustalwaysberememberedthatwhatiswellandcarefullymadebyanhonestworkman，afterarationaldesign，increasesinbeautyandvalueastheyearsgoon.TheoldfurniturebroughtoverbythePilgrims，twohundredyearsago，whichIsawinNewEngland，isjustasgoodandasbeautifulto—dayasitwaswhenitfirstcamehere.Now，whatyoumustdoistobringartistsandhandicraftsmentogether.Handicraftsmencannotlive，certainlycannotthrive，withoutsuchcompanionship.Separatethesetwoandyourobartofallspiritualmotive.
　　Havingdonethis，youmustplaceyourworkmaninthemidstofbeautifulsurroundings.Theartistisnotdependentonthevisibleandthetangible.Hehashisvisionsandhisdreamstofeedon.
　　Buttheworkmanmustseelovelyformsashegoestohisworkinthemorningandreturnsateventide.And，inconnectionwiththis，I
　　wanttoassureyouthatnobleandbeautifuldesignsarenevertheresultofidlefancyorpurposelessday—dreaming.Theycomeonlyastheaccumulationofhabitsoflonganddelightfulobservation.
　　Andyetsuchthingsmaynotbetaught.Rightideasconcerningthemcancertainlybeobtainedonlybythosewhohavebeenaccustomedtoroomsthatarebeautifulandcoloursthataresatisfying.
　　Perhapsoneofthemostdifficultthingsforustodoistochooseanotableandjoyousdressformen.Therewouldbemorejoyinlifeifweweretoaccustomourselvestouseallthebeautifulcolourswecaninfashioningourownclothes.Thedressofthefuture，Ithink，willusedraperytoagreatextentandwillaboundwithjoyouscolour.Atpresentwehavelostallnobilityofdressand，indoingso，havealmostannihilatedthemodernsculptor.
　　And，inlookingaroundatthefigureswhichadornourparks，onecouldalmostwishthatwehadcompletelykilledthenobleart.Toseethefrock—coatofthedrawing—roomdoneinbronze，orthedoublewaistcoatperpetuatedinmarble，addsanewhorrortodeath.
　　Butindeed，inlookingthroughthehistoryofcostume，seekingananswertothequestionswehavepropounded，thereislittlethatiseitherbeautifulorappropriate.OneoftheearliestformsistheGreekdraperywhichisexquisiteforyounggirls.Andthen，I
　　thinkwemaybepardonedalittleenthusiasmoverthedressofthetimeofCharlesI.，sobeautifulindeed，thatinspiteofitsinventionbeingwiththeCavaliersitwascopiedbythePuritans.
　　Andthedressforthechildrenofthattimemustnotbepassedover.Itwasaverygoldenageofthelittleones.Idonotthinkthattheyhaveeverlookedsolovelyastheydointhepicturesofthattime.ThedressofthelastcenturyinEnglandisalsopeculiarlygraciousandgraceful.Thereisnothingbizarreorstrangeaboutit，butitisfullofharmonyandbeauty.Inthesedays，whenwehavesuffereddreadfullyfromtheincursionsofthemodernmilliner，wehearladiesboastthattheydonotwearadressmorethanonce.Intheolddays，whenthedressesweredecoratedwithbeautifuldesignsandworkedwithexquisiteembroidery，ladiesrathertookaprideinbringingoutthegarmentandwearingitmanytimesandhandingitdowntotheirdaughters—aprocessthatwould，Ithink，bequiteappreciatedbyamodernhusbandwhencalledupontosettlehiswife’sbills.
　　Andhowshallmendress？Mensaythattheydonotparticularlycarehowtheydress，andthatitislittlematter.IamboundtoreplythatIdonotthinkthatyoudo.Inallmyjourneysthroughthecountry，theonlywell—dressedmenthatIsaw—andinsayingthisIearnestlydeprecatethepolishedindignationofyourFifthAvenuedandies—weretheWesternminers.Theirwide—brimmedhats，whichshadedtheirfacesfromthesunandprotectedthemfromtherain，andthecloak，whichisbyfarthemostbeautifulpieceofdraperyeverinvented，maywellbedweltonwithadmiration.Theirhighboots，too，weresensibleandpractical.Theyworeonlywhatwascomfortable，andthereforebeautiful.AsIlookedatthemI
　　couldnothelpthinkingwithregretofthetimewhenthesepicturesqueminerswouldhavemadetheirfortunesandwouldgoEasttoassumeagainalltheabominationsofmodernfashionableattire.
　　Indeed，soconcernedwasIthatImadesomeofthempromisethatwhentheyagainappearedinthemorecrowdedscenesofEasterncivilisationtheywouldstillcontinuetoweartheirlovelycostume.ButIdonotbelievetheywill.
　　Now，whatAmericawantsto—dayisaschoolofrationalart.Badartisagreatdealworsethannoartatall.Youmustshowyourworkmenspecimensofgoodworksothattheycometoknowwhatissimpleandtrueandbeautiful.TothatendIwouldhaveyouhaveamuseumattachedtotheseschools—notoneofthosedreadfulmoderninstitutionswherethereisastuffedandverydustygiraffe，andacaseortwooffossils，butaplacewheretherearegatheredexamplesofartdecorationfromvariousperiodsandcountries.
　　SuchaplaceistheSouthKensingtonMuseuminLondon，whereonwebuildgreaterhopesforthefuturethanonanyotheronething.
　　ThereIgoeverySaturdaynight，whenthemuseumisopenlaterthanusual，toseethehandicraftsman，thewood—worker，theglass—blowerandtheworkerinmetals.Anditisherethatthemanofrefinementandculturecomesfacetofacewiththeworkmanwhoministerstohisjoy.Hecomestoknowmoreofthenobilityoftheworkman，andtheworkman，feelingtheappreciation，comestoknowmoreofthenobilityofhiswork.
　　Youhavetoomanywhitewalls.Morecolouriswanted.YoushouldhavesuchmenasWhistleramongyoutoteachyouthebeautyandjoyofcolour.TakeMr.Whistler’s’SymphonyinWhite，’whichyounodoubthaveimaginedtobesomethingquitebizarre.Itisnothingofthesort.Thinkofacoolgreyskyfleckedhereandtherewithwhiteclouds，agreyoceanandthreewonderfullybeautifulfiguresrobedinwhite，leaningoverthewateranddroppingwhiteflowersfromtheirfingers.Hereisnoextensiveintellectualschemetotroubleyou，andnometaphysicsofwhichwehavehadquiteenoughinart.Butifthesimpleandunaidedcolourstriketherightkeynote，thewholeconceptionismadeclear.IregardMr.
　　Whistler’sfamousPeacockRoomasthefinestthingincolourandartdecorationwhichtheworldhasknownsinceCorreggiopaintedthatwonderfulroominItalywherethelittlechildrenaredancingonthewalls.Mr.WhistlerfinishedanotherroomjustbeforeI
　　cameaway—abreakfastroominblueandyellow.Theceilingwasalightblue，thecabinet—workandthefurniturewereofayellowwood，thecurtainsatthewindowswerewhiteandworkedinyellow，andwhenthetablewassetforbreakfastwithdaintybluechinanothingcanbeconceivedatoncesosimpleandsojoyous.
　　ThefaultwhichIhaveobservedinmostofyourroomsisthatthereisapparentnodefiniteschemeofcolour.Everythingisnotattunedtoakey—noteasitshouldbe.Theapartmentsarecrowdedwithprettythingswhichhavenorelationtooneanother.Again，yourartistsmustdecoratewhatismoresimplyuseful.InyourartschoolsIfoundnoattempttodecoratesuchthingsasthevesselsforwater.Iknowofnothinguglierthantheordinaryjugorpitcher.Amuseumcouldbefilledwiththedifferentkindsofwatervesselswhichareusedinhotcountries.Yetwecontinuetosubmittothedepressingjugwiththehandleallononeside.Idonotseethewisdomofdecoratingdinner—plateswithsunsetsandsoup—plateswithmoonlightscenes.Idonotthinkitaddsanythingtothepleasureofthecanvas—backducktotakeitoutofsuchglories.Besides，wedonotwantasoup—platewhosebottomseemstovanishinthedistance.Onefeelsneithersafenorcomfortableundersuchconditions.Infact，Ididnotfindintheartschoolsofthecountrythatthedifferencewasexplainedbetweendecorativeandimaginativeart.
　　Theconditionsofartshouldbesimple.Agreatdealmoredependsupontheheartthanuponthehead.Appreciationofartisnotsecuredbyanyelaborateschemeoflearning.Artrequiresagoodhealthyatmosphere.Themotivesforartarestillaroundaboutusastheywereroundabouttheancients.Andthesubjectsarealsoeasilyfoundbytheearnestsculptorandthepainter.Nothingismorepicturesqueandgracefulthanamanatwork.Theartistwhogoestothechildren’splayground，watchesthemattheirsportandseestheboystooptotiehisshoe，willfindthesamethemesthatengagedtheattentionoftheancientGreeks，andsuchobservationandtheillustrationswhichfollowwilldomuchtocorrectthatfoolishimpressionthatmentalandphysicalbeautyarealwaysdivorced.
　　Toyou，morethanperhapstoanyothercountry，hasNaturebeengenerousinfurnishingmaterialforartworkerstoworkin.YouhavemarblequarrieswherethestoneismorebeautifulincolourthananytheGreekseverhadfortheirbeautifulwork，andyetdayafterdayIamconfrontedwiththegreatbuildingofsomestupidmanwhohasusedthebeautifulmaterialasifitwerenotpreciousalmostbeyondspeech.Marbleshouldnotbeusedsavebynobleworkmen.Thereisnothingwhichgavemeagreatersenseofbarrennessintravellingthroughthecountrythantheentireabsenceofwoodcarvingonyourhouses.Woodcarvingisthesimplestofthedecorativearts.InSwitzerlandthelittlebarefootedboybeautifiestheporchofhisfather’shousewithexamplesofskillinthisdirection.WhyshouldnotAmericanboysdoagreatdealmoreandbetterthanSwissboys？
　　Thereisnothingtomymindmorecoarseinconceptionandmorevulgarinexecutionthanmodernjewellery.Thisissomethingthatcaneasilybecorrected.Somethingbettershouldbemadeoutofthebeautifulgoldwhichisstoredupinyourmountainhollowsandstrewnalongyourriverbeds.WhenIwasatLeadvilleandreflectedthatalltheshiningsilverthatIsawcomingfromthemineswouldbemadeintouglydollars，itmademesad.Itshouldbemadeintosomethingmorepermanent.ThegoldengatesatFlorenceareasbeautifulto—dayaswhenMichaelAngelosawthem.
　　Weshouldseemoreoftheworkmanthanwedo.Weshouldnotbecontenttohavethesalesmanstandbetweenus—thesalesmanwhoknowsnothingofwhatheissellingsavethatheischargingagreatdealtoomuchforit.Andwatchingtheworkmanwillteachthatmostimportantlesson—thenobilityofallrationalworkmanship.
　　Isaidinmylastlecturethatartwouldcreateanewbrotherhoodamongmenbyfurnishingauniversallanguage.Isaidthatunderitsbeneficentinfluenceswarmightpassaway.Thinkingthis，whatplacecanIascribetoartinoureducation？Ifchildrengrowupamongallfairandlovelythings，theywillgrowtolovebeautyanddetestuglinessbeforetheyknowthereasonwhy.Ifyougointoahousewhereeverythingiscoarse，youfindthingschippedandbrokenandunsightly.Nobodyexercisesanycare.Ifeverythingisdaintyanddelicate，gentlenessandrefinementofmannerareunconsciouslyacquired.WhenIwasinSanFranciscoIusedtovisittheChineseQuarterfrequently.ThereIusedtowatchagreathulkingChineseworkmanathistaskofdigging，andusedtoseehimeverydaydrinkhisteafromalittlecupasdelicateintextureasthepetalofaflower，whereasinallthegrandhotelsoftheland，wherethousandsofdollarshavebeenlavishedongreatgiltmirrorsandgaudycolumns，Ihavebeengivenmycoffeeormychocolateincupsaninchandaquarterthick.IthinkIhavedeservedsomethingnicer.
　　Theartsystemsofthepasthavebeendevisedbyphilosopherswholookeduponhumanbeingsasobstructions.Theyhavetriedtoeducateboys’mindsbeforetheyhadany.Howmuchbetteritwouldbeintheseearlyyearstoteachchildrentousetheirhandsintherationalserviceofmankind.Iwouldhaveaworkshopattachedtoeveryschool，andonehouradaygivenuptotheteachingofsimpledecorativearts.Itwouldbeagoldenhourtothechildren.Andyouwouldsoonraiseuparaceofhandicraftsmenwhowouldtransformthefaceofyourcountry.IhaveseenonlyonesuchschoolintheUnitedStates，andthiswasinPhiladelphiaandwasfoundedbymyfriendMr.Leyland.Istoppedthereyesterdayandhavebroughtsomeoftheworkherethisafternoontoshowyou.
　　Herearetwodisksofbeatenbrass：thedesignsonthemarebeautiful，theworkmanshipissimple，andtheentireresultissatisfactory.Theworkwasdonebyalittleboytwelveyearsold.
　　Thisisawoodenbowldecoratedbyalittlegirlofthirteen.Thedesignislovelyandthecolouringdelicateandpretty.Hereyouseeapieceofbeautifulwoodcarvingaccomplishedbyalittleboyofnine.Insuchworkasthis，childrenlearnsincerityinart.
　　Theylearntoabhortheliarinart—themanwhopaintswoodtolooklikeiron，orirontolooklikestone.Itisapracticalschoolofmorals.NobetterwayistheretolearntoloveNaturethantounderstandArt.Itdignifieseveryflowerofthefield.
　　And，theboywhoseesthethingofbeautywhichabirdonthewingbecomeswhentransferredtowoodorcanvaswillprobablynotthrowthecustomarystone.Whatwewantissomethingspiritualaddedtolife.NothingissoignoblethatArtcannotsanctifyit.
　　ARTANDTHEHANDICRAFTSMAN
　　PEOPLEoftentalkasiftherewasanoppositionbetweenwhatisbeautifulandwhatisuseful.Thereisnooppositiontobeautyexceptugliness：allthingsareeitherbeautifulorugly，andutilitywillbealwaysonthesideofthebeautifulthing，becausebeautifuldecorationisalwaysonthesideofthebeautifulthing，becausebeautifuldecorationisalwaysanexpressionoftheuseyouputathingtoandthevalueplacedonit.Noworkmanwillbeautifullydecoratebadwork，norcanyoupossiblygetgoodhandicraftsmenorworkmenwithouthavingbeautifuldesigns.Youshouldbequitesureofthat.Ifyouhavepoorandworthlessdesignsinanycraftortradeyouwillgetpoorandworthlessworkmenonly，buttheminuteyouhavenobleandbeautifuldesigns，thenyougetmenofpowerandintellectandfeelingtoworkforyou.Byhavinggooddesignsyouhaveworkmenwhoworknotmerelywiththeirhandsbutwiththeirheartsandheadstoo;otherwiseyouwillgetmerelythefoolortheloafertoworkforyou.
　　Thatthebeautyoflifeisathingofnomoment，Isupposefewpeoplewouldventuretoassert.Andyetmostcivilisedpeopleactasifitwereofnone，andinsodoingarewrongingboththemselvesandthosethataretocomeafterthem.Forthatbeautywhichismeantbyartisnomereaccidentofhumanlifewhichpeoplecantakeorleave，butapositivenecessityoflifeifwearetoliveasnaturemeantusto，thatistosayunlesswearecontenttobelessthanmen.
　　Donotthinkthatthecommercialspiritwhichisthebasisofyourlifeandcitieshereisopposedtoart.Whobuiltthebeautifulcitiesoftheworldbutcommercialmenandcommercialmenonly？
　　Genoabuiltbyitstraders，Florencebyitsbankers，andVenice，mostlovelyofall，byitsnobleandhonestmerchants.
　　Idonotwishyou，remember，’tobuildanewPisa，’nortobring’thelifeorthedecorationsofthethirteenthcenturybackagain.’
　　’Thecircumstanceswithwhichyoumustsurroundyourworkmenarethose’ofmodernAmericanlife，’becausethedesignsyouhavenowtoaskforfromyourworkmenaresuchaswillmakemodern’American’lifebeautiful.’Theartwewantistheartbasedonalltheinventionsofmoderncivilisation，andtosuitalltheneedsofnineteenth—centurylife.
　　Doyouthink，forinstance，thatweobjecttomachinery？Itellyouwereverenceit;wereverenceitwhenitdoesitsproperwork，whenitrelievesmanfromignobleandsoullesslabour，notwhenitseekstodothatwhichisvaluableonlywhenwroughtbythehandsandheartsofmen.Letushavenomachine—madeornamentatall;itisallbadandworthlessandugly.Andletusnotmistakethemeansofcivilisationfortheendofcivilisation;steam—engine，telephoneandthelike，areallwonderful，butrememberthattheirvaluedependsentirelyonthenobleuseswemakeofthem，onthenoblespiritinwhichweemploythem，notonthethingsthemselves.
　　Itis，nodoubt，agreatadvantagetotalktoamanattheAntipodesthroughatelephone;itsadvantagedependsentirelyonthevalueofwhatthetwomenhavetosaytooneanother.Ifonemerelyshrieksslanderthroughatubeandtheotherwhispersfollyintoawire，donotthinkthatanybodyisverymuchbenefitedbytheinvention.
　　ThetrainthatwhirlsanordinaryEnglishmanthroughItalyattherateoffortymilesanhourandfinallysendshimhomewithoutanymemoryofthatlovelycountrybutthathewascheatedbyacourieratRome，orthathegotabaddinneratVerona，doesnotdohimorcivilisationmuchgood.Butthatswiftlegionoffiery—footedenginesthatboretotheburningruinsofChicagothelovinghelpandgeneroustreasureoftheworldwasasnobleandasbeautifulasanygoldentroopofangelsthateverfedthehungryandclothedthenakedintheantiquetimes.Asbeautiful，yes;allmachinerymaybebeautifulwhenitisundecoratedeven.Donotseektodecorateit.Wecannotbutthinkallgoodmachineryisgraceful，also，thelineofstrengthandthelineofbeautybeingone.
　　Givethen，asIsaid，toyourworkmenofto—daythebrightandnoblesurroundingsthatyoucanyourselfcreate.Statelyandsimplearchitectureforyourcities，brightandsimpledressforyourmenandwomen;thosearetheconditionsofarealartisticmovement.Fortheartistisnotconcernedprimarilywithanytheoryoflifebutwithlifeitself，withthejoyandlovelinessthatshouldcomedailyoneyeandearforabeautifulexternalworld.
　　Butthesimplicitymustnotbebarrennessnorthebrightcolourgaudy.Forallbeautifulcoloursaregraduatedcolours，thecoloursthatseemabouttopassintooneanother’srealm—colourwithouttonebeinglikemusicwithoutharmony，merediscord.
　　Barrenarchitecture，thevulgarandglaringadvertisementsthatdesecratenotmerelyyourcitiesbuteveryrockandriverthatI
　　haveseenyetinAmerica—allthisisnotenough.Aschoolofdesignwemusthavetooineachcity.Itshouldbeastatelyandnoblebuilding，fullofthebestexamplesofthebestartoftheworld.Furthermore，donotputyourdesignersinabarrenwhitewashedroomandbidthemworkinthatdepressingandcolourlessatmosphereasIhaveseenmanyoftheAmericanschoolsofdesign，butgivethembeautifulsurroundings.Becauseyouwanttoproduceapermanentcanonandstandardoftasteinyourworkman，hemusthavealwaysbyhimandbeforehimspecimensofthebestdecorativeartoftheworld，sothatyoucansaytohim：’Thisisgoodwork.GreekorItalianorJapanesewroughtitsomanyyearsago，butitiseternallyyoungbecauseeternallybeautiful.’Workinthisspiritandyouwillbesuretoberight.Donotcopyit，butworkwiththesamelove，thesamereverence，thesamefreedomofimagination.Youmustteachhimcolouranddesign，howallbeautifulcoloursaregraduatedcoloursandglaringcolourstheessenceofvulgarity.Showhimthequalityofanybeautifulworkofnatureliketherose，oranybeautifulworkofartlikeanEasterncarpet—beingmerelytheexquisitegradationofcolour，onetoneansweringanotherliketheansweringchordsofasymphony.
　　Teachhimhowthetruedesignerisnothewhomakesthedesignandthencoloursit，buthewhodesignsincolour，createsincolour，thinksincolourtoo.Showhimhowthemostgorgeousstained—glasswindowsofEuropearefilledwithwhiteglass，andthemostgorgeousEasterntapestrywithtonedcolours—theprimarycoloursinbothplacesbeingsetinthewhiteglass，andthetonecolourslikebrilliantjewelssetinduskygold.Andthenasregardsdesign，showhimhowtherealdesignerwilltakefirstanygivenlimitedspace，littlediskofsilver，itmaybe，likeaGreekcoin，orwideexpanseoffrettedceilingorlordlywallasTintoretchoseatVenice（itdoesnotmatterwhich），andtothislimitedspace—
　　thefirstconditionofdecorationbeingthelimitationofthesizeofthematerialused—hewillgivetheeffectofitsbeingfilledwithbeautifuldecoration，filledwithitasagoldencupwillbefilledwithwine，socompletethatyoushouldnotbeabletotakeawayanythingfromitoraddanythingtoit.Forfromagoodpieceofdesignyoucantakeawaynothing，norcanyouaddanythingtoit，eachlittlebitofdesignbeingasabsolutelynecessaryandasvitallyimportanttothewholeeffectasanoteorchordofmusicisforasonataofBeethoven.
　　ButIsaidtheeffectofitsbeingsofilled，becausethis，again，isoftheessenceofgooddesign.WithasimplesprayofleavesandabirdinflightaJapaneseartistwillgiveyoutheimpressionthathehascompletelycoveredwithlovelydesignthereedfanorlacquercabinetatwhichheisworking，merelybecauseheknowstheexactspotinwhichtoplacethem.Allgooddesigndependsonthetextureoftheutensilusedandtheuseyouwishtoputitto.OneofthefirstthingsIsawinanAmericanschoolofdesignwasayoungladypaintingaromanticmoonlightlandscapeonalargerounddish，andanotheryoungladycoveringasetofdinnerplateswithaseriesofsunsetsofthemostremarkablecolours.Letyourladiespaintmoonlightlandscapesandsunsets，butdonotletthempaintthemondinnerplatesordishes.Letthemtakecanvasorpaperforsuchwork，butnotclayorchina.Theyaremerelypaintingthewrongsubjectsonthewrongmaterial，thatisall.Theyhavenotbeentaughtthateverymaterialandtexturehascertainqualitiesofitsown.Thedesignsuitableforoneisquitewrongfortheother，justasthedesignwhichyoushouldworkonaflattable—
　　coveroughttobequitedifferentfromthedesignyouwouldworkonacurtain，fortheonewillalwaysbestraight，theotherbrokenintofolds;andtheusetoooneputstheobjecttoshouldguideoneinthechoiceofdesign.Onedoesnotwanttoeatone’sterrapinsoffaromanticmoonlightnorone’sclamsoffaharrowingsunset.
　　Gloryofsunandmoon，letthembewroughtforusbyourlandscapeartistandbeonthewallsoftheroomswesitintoremindusoftheundyingbeautyofthesunsetsthatfadeanddie，butdonotletuseatoursoupoffthemandsendthemdowntothekitchentwiceadaytobewashedandscrubbedbythehandmaid.
　　Allthesethingsaresimpleenough，yetnearlyalwaysforgotten.
　　Yourschoolofdesignherewillteachyourgirlsandyourboys，yourhandicraftsmenofthefuture（forallyourschoolsofartshouldbelocalschools，theschoolsofparticularcities）.WetalkoftheItalianschoolofpainting，butthereisnoItalianschool;thereweretheschoolsofeachcity.EverytowninItaly，fromVeniceitself，queenofthesea，tothelittlehillfortressofPerugia，eachhaditsownschoolofart，eachdifferentandallbeautiful.
　　SodonotmindwhatartPhiladelphiaorNewYorkishaving，butmakebythehandsofyourowncitizensbeautifulartforthejoyofyourowncitizens，foryouhaveheretheprimaryelementsofagreatartisticmovement.
　　For，believeme，theconditionsofartaremuchsimplerthanpeopleimagine.Forthenoblestartonerequiresaclearhealthyatmosphere，notpollutedastheairofourEnglishcitiesisbythesmokeandgrimeandhorridnesswhichcomesfromopenfurnaceandfromfactorychimney.Youmusthavestrong，sane，healthyphysiqueamongyourmenandwomen.Sicklyoridleormelancholypeopledonotdomuchinart.Andlastly，yourequireasenseofindividualismabouteachmanandwoman，forthisistheessenceofart—adesireonthepartofmantoexpresshimselfinthenoblestwaypossible.Andthisisthereasonthatthegrandestartoftheworldalwayscamefromarepublic：Athens，Venice，andFlorence—
　　therewerenokingsthereandsotheirartwasasnobleandsimpleassincere.ButifyouwanttoknowwhatkindofartthefollyofkingswillimposeonacountrylookatthedecorativeartofFranceundertheGRANDMONARQUE，underLouistheFourteenth;thegaudygiltfurniturewrithingunderasenseofitsownhorrorandugliness，withanymphsmirkingateveryangleandadragonmouthingoneveryclaw.Unrealandmonstrousartthis，andfitonlyforsuchperiwiggedpompositiesasthenobilityofFranceatthattime，butnotatallfitforyouorme.Wedonotwanttherichtopossessmorebeautifulthingsbutthepoortocreatemorebeautifulthings;forevermanispoorwhocannotcreate.NorshalltheartwhichyouandIneedbemerelyapurplerobewovenbyaslaveandthrownoverthewhitenedbodyofsomeleprouskingtoadornortoconcealthesinofhisluxury，butrathershallitbethenobleandbeautifulexpressionofapeople’snobleandbeautifullife.Artshallbeagainthemostgloriousofallthechordsthroughwhichthespiritofagreatnationfindsitsnoblestutterance.
　　Allaroundyou，Isaid，lietheconditionsforagreatartisticmovementforeverygreatart.Letusthinkofoneofthem;asculptor，forinstance.
　　Ifamodernsculptorweretocomeandsay，’Verywell，butwherecanonefindsubjectsforsculptureoutofmenwhowearfrock—coatsandchimney—pothats？’Iwouldtellhimtogotothedocksofagreatcityandwatchthemenloadingorunloadingthestatelyships，workingatwheelorwindlass，haulingatropeorgangway.I
　　haveneverwatchedamandoanythingusefulwhohasnotbeengracefulatsomemomentofhislabour：itisonlytheloaferandtheidlesauntererwhoisasuselessanduninterestingtotheartistasheistohimself.Iwouldaskthesculptortogowithmetoanyofyourschoolsoruniversities，totherunninggroundandgymnasium，towatchtheyoungmenstartforarace，hurlingquoitorclub，kneelingtotietheirshoesbeforeleaping，steppingfromtheboatorbendingtotheoar，andtocarvethem;andwhenhewaswearyofcitiesIwouldaskhimtocometoyourfieldsandmeadowstowatchthereaperwithhissickleandthecattle—driverwithliftedlasso.Forifamancannotfindthenoblestmotivesforhisartinsuchsimpledailythingsasawomandrawingwaterfromthewelloramanleaningwithhisscythe，hewillnotfindthemanywhereatall.GodsandgoddessestheGreekcarvedbecausehelovedthem;saintandkingtheGothbecausehebelievedinthem.
　　Butyou，youdonotcaremuchforGreekgodsandgoddesses，andyouareperfectlyandentirelyright;andyoudonotthinkmuchofkingseither，andyouarequiteright.Butwhatyoudoloveareyourownmenandwomen，yourownflowersandfields，yourownhillsandmountains，andthesearewhatyourartshouldrepresenttoyou.
　　Ourshasbeenthefirstmovementwhichhasbroughtthehandicraftsmanandtheartisttogether，forrememberthatbyseparatingtheonefromtheotheryoudoruintoboth;yourobtheoneofallspiritualmotiveandallimaginativejoy，youisolatetheotherfromallrealtechnicalperfection.Thetwogreatestschoolsofartintheworld，thesculptoratAthensandtheschoolofpaintingatVenice，hadtheiroriginentirelyinalongsuccessionofsimpleandearnesthandicraftsmen.ItwastheGreekpotterwhotaughtthesculptorthatrestraininginfluenceofdesignwhichwasthegloryoftheParthenon;itwastheItaliandecoratorofchestsandhouseholdgoodswhokeptVenetianpaintingalwaystruetoitsprimarypictorialconditionofnoblecolour.Forweshouldrememberthatalltheartsarefineartsandalltheartsdecorativearts.ThegreatesttriumphofItalianpaintingwasthedecorationofapope’schapelinRomeandthewallofaroominVenice.MichaelAngelowroughttheone，andTintoret，thedyer’sson，theother.Andthelittle’Dutchlandscape，whichyouputoveryoursideboardto—day，andbetweenthewindowsto—morrow，is’
　　nolessaglorious’pieceofworkthantheextentsoffieldandforestwithwhichBenozzohasmadegreenandbeautifultheoncemelancholyarcadeoftheCampoSantoatPisa，’asRuskinsays.
　　Donotimitatetheworksofanation，GreekorJapanese，ItalianorEnglish;buttheirartisticspiritofdesignandtheirartisticattitudeto—day，theirownworld，youshouldabsorbbutimitatenever，copynever.UnlessyoucanmakeasbeautifuladesigninpaintedchinaorembroideredscreenorbeatenbrassoutofyourAmericanturkeyastheJapanesedoesoutofhisgreysilver—wingedstork，youwillneverdoanything.LettheGreekcarvehislionsandtheGothhisdragons：buffaloandwilddeeraretheanimalsforyou.
　　Goldenrodandasterandroseandalltheflowersthatcoveryourvalleysinthespringandyourhillsintheautumn：letthembetheflowersforyourart.NotmerelyhasNaturegivenyouthenoblestmotivesforanewschoolofdecoration，buttoyouaboveallothercountrieshasshegiventheutensilstoworkin.
　　YouhavequarriesofmarblericherthanPentelicus，morevariedthanParos，butdonotbuildagreatwhitesquarehouseofmarbleandthinkthatitisbeautiful，orthatyouareusingmarblenobly.
　　Ifyoubuildinmarbleyoumusteithercarveitintojoyousdecoration，likethelivesofdancingchildrenthatadornthemarblecastlesoftheLoire，orfillitwithbeautifulsculpture，friezeandpediment，astheGreeksdid，orinlayitwithothercolouredmarblesastheydidinVenice.OtherwiseyouhadbetterbuildinsimpleredbrickasyourPuritanfathers，withnopretenceandwithsomebeauty.Donottreatyourmarbleasifitwasordinarystoneandbuildahouseofmereblocksofit.Foritisindeedapreciousstone，thismarbleofyours，andonlyworkmenofnobilityofinventionanddelicacyofhandshouldbeallowedtotouchitatall，carvingitintonoblestatuesorintobeautifuldecoration，orinlayingitwithothercolouredmarbles：for’thetruecoloursofarchitecturearethoseofnaturalstone，andI
　　wouldfainseethemtakenadvantageoftothefull.Everyvarietyishere，frompaleyellowtopurplepassingthroughorange，red，andbrown，entirelyatyourcommand;nearlyeverykindofgreenandgreyalsoisattainable，andwiththeseandwithpurewhitewhatharmonymightyounotachieve.Ofstainedandvariegatedstonethequantityisunlimited，thekindsinnumerable.Werebrightercoloursrequired，letglass，andgoldprotectedbyglass，beusedinmosaic，akindofworkasdurableasthesolidstoneandincapableoflosingitslustrebytime.Andletthepainter’sworkbereservedfortheshadowedloggiaandinnerchamber.
　　’Thisisthetrueandfaithfulwayofbuilding.Wherethiscannotbe，thedeviceofexternalcolouringmayindeedbeemployedwithoutdishonour—butitmustbewiththewarningreflectionthatatimewillcomewhensuchaidswillpassawayandwhenthebuildingwillbejudgedinitslifelessness，dyingthedeathofthedolphin.
　　Betterthelessbright，moreenduringfabric.ThetransparentalabastersofSanMiniatoandthemosaicsofSaintMark’saremorewarmlyfilledandmorebrightlytouchedbyeveryreturnofmorningandevening，whilethehuesoftheGothiccathedralshavediedliketheirisoutofthecloud，andthetemples，whoseazureandpurpleonceflamedabovetheGrecianpromontory，standintheirfadedwhitenesslikesnowswhichthesunsethasleftcold.’—Ruskin，SEVENLAMPSOFARCHITECTURE，II.
　　Idonotknowanythingsoperfectlycommonplaceindesignasmostmodernjewellery.Howeasyforyoutochangethatandtoproducegoldsmiths’workthatwouldbeajoytoallofus.Thegoldisreadyforyouinunexhaustedtreasure，storedupinthemountainholloworstrewnontheriversand，andwasnotgiventoyoumerelyforbarrenspeculation.Thereshouldbesomebetterrecordofitleftinyourhistorythanthemerchant’spanicandtheruinedhome.
　　Wedonotrememberoftenenoughhowconstantlythehistoryofagreatnationwillliveinandbyitsart.OnlyafewthinwreathsofbeatengoldremaintotellusofthestatelyempireofEtruria;
　　and，whilefromthestreetsofFlorencethenobleknightandhaughtydukehavelongsincepassedaway，thegateswhichthesimplegoldsmithGhibertimadefortheirpleasurestillguardtheirlovelyhouseofbaptism，worthystillofthepraiseofMichaelAngelowhocalledthemworthytobetheGatesofParadise.
　　Havethenyourschoolofdesign，searchoutyourworkmenand，whenyoufindonewhohasdelicacyofhandandthatwonderofinventionnecessaryforgoldsmiths’work，donotleavehimtotoilinobscurityanddishonourandhaveagreatglaringshopandtwogreatglaringshop—boysinit（nottotakeyourorders：theyneverdothat;buttoforceyoutobuysomethingyoudonotwantatall）.
　　Whenyouwantathingwroughtingold，gobletorshieldforthefeast，necklaceorwreathforthewomen，tellhimwhatyoulikemostindecoration，flowerorwreath，birdinflightorhoundinthechase，imageofthewomanyouloveorthefriendyouhonour.
　　Watchhimashebeatsoutthegoldintothosethinplatesdelicateasthepetalsofayellowrose，ordrawsitintothelongwiresliketangledsunbeamsatdawn.Whoeverthatworkmanbe，helphim，cherishhim，andyouwillhavesuchlovelyworkfromhishandaswillbeajoytoyouforalltime.
　　ThisisthespiritofourmovementinEngland，andthisisthespiritinwhichwewouldwishyoutowork，makingeternalbyyourartallthatisnobleinyourmenandwomen，statelyinyourlakesandmountains，beautifulinyourownflowersandnaturallife.Wewanttoseethatyouhavenothinginyourhousesthathasnotbeenajoytothemanwhomadeit，andisnotajoytothosethatuseit.Wewanttoseeyoucreateanartmadebythehandsofthepeopletopleasetheheartsofthepeopletoo.Doyoulikethisspiritornot？Doyouthinkitsimpleandstrong，nobleinitsaim，andbeautifulinitsresult？Iknowyoudo.
　　Follyandslanderhavetheirownwayforalittletime，butforalittletimeonly.Younowknowwhatwemean：youwillbeabletoestimatewhatissaidofus—itsvalueanditsmotive.
　　Thereshouldbealawthatnoordinarynewspapershouldbeallowedtowriteaboutart.Theharmtheydobytheirfoolishandrandomwritingitwouldbeimpossibletooverestimate—nottotheartistbuttothepublic，blindingthemtoall，butharmingtheartistnotatall.Withoutthemwewouldjudgeamansimplybyhiswork;butatpresentthenewspapersaretryinghardtoinducethepublictojudgeasculptor，forinstance，neverbyhisstatuesbutbythewayhetreatshiswife;apainterbytheamountofhisincomeandapoetbythecolourofhisneck—tie.Isaidthereshouldbealaw，butthereisreallynonecessityforanewlaw：nothingcouldbeeasierthantobringtheordinarycriticundertheheadofthecriminalclasses.Butletusleavesuchaninartisticsubjectandreturntobeautifulandcomelythings，rememberingthattheartwhichwouldrepresentthespiritofmodernnewspaperswouldbeexactlytheartwhichyouandIwanttoavoid—grotesqueart，malicemockingyoufromeverygateway，slandersneeringatyoufromeverycorner.