The past art of what has grown to be civilised Europe from the time of the decline of the ancient classical peoples, was the outcome of instinct working on an unbroken chain of tradition: it was fed not by knowledge but by hope, and though many a strange and wild illusion mingled with that hope, yet was it human and fruitful ever: many a man it solaced, many a slave in body it freed in soul; boundless pleasure it gave to those who wrought it and those who used it: long and long it lived, passing that torch of hope from hand to hand, while it kept but little record of its best and noblest; for least of all things could it abide to make for itself kings and tyrants: every man's hand and soul it used, the lowest as the highest, and in its bosom at least were all men free: it did its work, not creating an art more perfect than itself, but rather other things than art, freedom of thought and speech, and the longing for light and knowledge and the coming days that should slay it: and so at last it died in the hour of its highest hope, almost before the greatest men that came of it had passed away from the world. It is dead now; no longing will bring it back to us; no echo of it is left among the peoples whom it once made happy.

Of the art that is to come who may prophesy? But this at least seems to follow from comparing that past with the confusion in which we are now struggling and the light which glimmers through it; that that art will no longer be an art of instinct, of ignorance which is hopeful to learn and strives to see; since ignorance is now no longer hopeful. In this and in many other ways it may differ from the past art, but in one thing it must needs be like it; it will not be an esoteric mystery shared by a little band of superior beings; it will be no more hierarchical than the art of past time was, but like it will be a gift of the people to the people, a thing which everybody can understand, and every one surround with love; it will be a part of every life, and a hindrance to none.

For this is the essence of art, and the thing that is eternal to it, whatever else may be passing and accidental.

Here it is, you see, wherein the art of to-day is so far astray, would that I could say wherein it HAS BEEN astray; it has been sick because of this packing and peeling with tyranny, and now with what of life it has it must struggle back towards equality.

There is the hard business for us! to get all simple people to care about art, to get them to insist on making it part of their lives, whatever becomes of systems of commerce and labour held perfect by some of us.

This is henceforward for a long time to come the real business of art: and—yes I will say it since I think it—of civilisation too for that matter: but how shall we set to work about it? How shall we give people without traditions of art eyes with which to see the works we do to move them? How shall we give them leisure from toil, and truce with anxiety, so that they may have time to brood over the longing for beauty which men are born with, as 'tis said, even in London streets? And chiefly, for this will breed the others swiftly and certainly, how shall we give them hope and pleasure in their daily work?

How shall we give them this soul of art without which men are worse than savages? If they would but drive us to it! But what and where are the forces that shall drive them to drive us? Where is the lever and the standpoint?

Hard questions indeed! but unless we are prepared to seek an answer for them, our art is a mere toy, which may amuse us for a little, but which will not sustain us at our need: the cultivated classes, as they are called, will feel it slipping away from under them: till some of them will but mock it as a worthless thing; and some will stand by and look at it as a curious exercise of the intellect, useless when done, though amusing to watch a-doing. How long will art live on those terms? Yet such were even now the state of art were it not for that hope which I am here to set forth to you, the hope of an art that shall express the soul of the people.

Therefore, I say, that in these days we men of civilisation have to choose if we will cast art aside or not; if we choose to do so I have no more to say, save that we MAY find something to take its place for the solace and joy of mankind, but I scarce think we shall: but if we refuse to cast art aside, then must we seek an answer for those hard questions aforesaid, of which this is the first.

How shall we set about giving people without traditions of art eyes with which to see works of art? It will doubtless take many years of striving and success, before we can think of answering that question fully: and if we strive to do our duty herein, long before it is answered fully there will be some kind of a popular art abiding among us: but meantime, and setting aside the answer which every artist must make to his own share of the question, there is one duty obvious to us all; it is that we should set ourselves, each one of us, to doing our best to guard the natural beauty of the earth: we ought to look upon it as a crime, an injury to our fellows, only excusable because of ignorance, to mar the natural beauty, which is the property of all men; and scarce less than a crime to look on and do nothing while others are marring it, if we can no longer plead this ignorance.

Now this duty, as it is the most obvious to us, and the first and readiest way of giving people back their eyes, so happily it is the easiest to set about; up to a certain point you will have all people of good will to the public good on your side: nay, small as the beginning is, something has actually been begun in this direction, and we may well say, considering how hopeless things looked twenty years ago, that it is marvellous in our eyes! Yet if we ever get out of the troubles that we are now wallowing in, it will seem perhaps more marvellous still to those that come after us that the dwellers in the richest city in the world were at one time rather proud that the members of a small, humble, and rather obscure, though I will say it, a beneficent society, should have felt it their duty to shut their eyes to the apparent hopelessness of attacking with their feeble means the stupendous evils they had become alive to, so that they might be able to make some small beginnings towards awakening the general public to a due sense of those evils.

I say, that though I ask your earnest support for such associations as the Kyrle and the Commons Preservation Societies, and though I feel sure that they have begun at the right end, since neither gods nor governments will help those who don't help themselves; though we are bound to wait for nobody's help than our own in dealing with the devouring hideousness and squalor of our great towns, and especially of London, for which the whole country is responsible; yet it would be idle not to acknowledge that the difficulties in our way are far too huge and wide-spreading to be grappled by private or semi- private efforts only.

All we can do in this way we must look on not as palliatives of an unendurable state of things, but as tokens of what we desire; which is in short the giving back to our country of the natural beauty of the earth, which we are so ashamed of having taken away from it: and our chief duty herein will be to quicken this shame and the pain that comes from it in the hearts of our fellows: this I say is one of the chief duties of all those who have any right to the title of cultivated men: and I believe that if we are faithful to it, we may help to further a great impulse towards beauty among us, which will be so irresistible that it will fashion for itself a national machinery which will sweep away all difficulties between us and a decent life, though they may have increased a thousand-fold meantime, as is only too like to be the case.

Surely that light will arise, though neither we nor our children's children see it, though civilisation may have to go down into dark places enough meantime: surely one day making will be thought more honourable, more worthy the majesty of a great nation than destruction.

It is strange indeed, it is woeful, it is scarcely comprehensible, if we come to think of it as men, and not as machines, that, after all the progress of civilisation, it should be so easy for a little official talk, a few lines on a sheet of paper, to set a terrible engine to work, which without any trouble on our part will slay us ten thousand men, and ruin who can say how many thousand of families; and it lies light enough on the conscience of ALL of us; while, if it is a question of striking a blow at grievous and crushing evils which lie at our own doors, evils which every thoughtful man feels and laments, and for which we alone are responsible, not only is there no national machinery for dealing with them, though they grow ranker and ranker every year, but any hint that such a thing may be possible is received with laughter or with terror, or with severe and heavy blame. The rights of property, the necessities of morality, the interests of religion— these are the sacramental words of cowardice that silence us!

Sirs, I have spoken of thoughtful men who feel these evils: but think of all the millions of men whom our civilisation has bred, who are not thoughtful, and have had no chance of being so; how can you fail then to acknowledge the duty of defending the fairness of the Earth? and what is the use of our cultivation if it is to cultivate us into cowards? Let us answer those feeble counsels of despair and say, We also have a property which your tyranny of squalor cheats us of; we also have a morality which its baseness crushes; we also have a religion which its injustice makes a mock of.

Well, whatever lesser helps there may be to our endeavour of giving people back the eyes we have robbed them of, we may pass them by at present, for they are chiefly of use to people who are beginning to get their eyesight again; to people who, though they have no traditions of art, can study those mighty impulses that once led nations and races: it is to such that museums and art education are of service; but it is clear they cannot get at the great mass of people, who will at present stare at them in unintelligent wonder.

Until our streets are decent and orderly, and our town gardens break the bricks and mortar every here and there, and are open to all people; until our meadows even near our towns become fair and sweet, and are unspoiled by patches of hideousness: until we have clear sky above our heads and green grass beneath our feet; until the great drama of the seasons can touch our workmen with other feelings than the misery of winter and the weariness of summer; till all this happens our museums and art schools will be but amusements of the rich; and they will soon cease to be of any use to them also, unless they make up their minds that they will do their best to give us back the fairness of the Earth.

In what I have been saying on this last point I have been thinking of our own special duties as cultivated people; but in our endeavours towards this end, as in all others, cultivated people cannot stand alone; nor can we do much to open people's eyes till they cry out to us to have them opened. Now I cannot doubt that the longing to attack and overcome the sordidness of the city life of to-day still dwells in the minds of workmen, as well as in ours, but it can scarcely be otherwise than vague and lacking guidance with men who have so little leisure, and are so hemmed in with hideousness as they are. So this brings us to our second question. How shall people in general get leisure enough from toil, and truce enough with anxiety to give scope to their inborn longing for beauty?

Now the part of this question that is not involved in the next one, How shall they get proper work to do? is I think in a fair way to be answered.

The mighty change which the success of competitive commerce has wrought in the world, whatever it may have destroyed, has at least unwittingly made one thing,—from out of it has been born the increasing power of the working-class. The determination which this power has bred in it to raise their class as a class will I doubt not make way and prosper with our goodwill, or even in spite of it; but it seems to me that both to the working-class and especially to ourselves it is important that it should have our abundant goodwill, and also what help we may be able otherwise to give it, by our determination to deal fairly with workmen, even when that justice may seem to involve our own loss. The time of unreasonable and blind outcry against the Trades Unions is, I am happy to think, gone by; and has given place to the hope of a time when these great Associations, well organised, well served, and earnestly supported, as I KNOW them to be, will find other work before them than the temporary support of their members and the adjustment of due wages for their crafts: when that hope begins to be realised, and they find they can make use of the help of us scattered units of the cultivated classes, I feel sure that the claims of art, as we and they will then understand the word, will by no means be disregarded by them.

Meantime with us who are called artists, since most unhappily that word means at present another thing than artisan: with us who either practise the arts with our own hands, or who love them so wholly that we can enter into the inmost feelings of those who do,— with us it lies to deal with our last question, to stir up others to think of answering this: How shall we give people in general hope and pleasure in their daily work in such a way that in those days to come the word art SHALL be rightly understood?

Of all that I have to say to you this seems to me the most important, that our daily and necessary work, which we could not escape if we would, which we would not forego if we could, should be human, serious, and pleasurable, not machine-like, trivial, or grievous. I call this not only the very foundation of Architecture in all senses of the word, but of happiness also in all conditions of life.

Let me say before I go further, that though I am nowise ashamed of repeating the words of men who have been before me in both senses, of time and insight, I mean, I should be ashamed of letting you think that I forget their labours on which mine are founded. I know that the pith of what I am saying on this subject was set forth years ago, and for the first time by Mr. Ruskin in that chapter of the Stones of Venice, which is entitled, 'On the Nature of Gothic,' in words more clear and eloquent than any man else now living could use. So important do they seem to me, that to my mind they should have been posted up in every school of art throughout the country; nay, in every association of English-speaking people which professes in any way to further the culture of mankind. But I am sorry to have to say it, my excuse for doing little more now than repeating those words is that they have been less heeded than most things which Mr. Ruskin has said: I suppose because people have been afraid of them, lest they should find the truth they express sticking so fast in their minds that it would either compel them to act on it or confess themselves slothful and cowardly.

Nor can I pretend to wonder at that: for if people were once to accept it as true, that it is nothing but just and fair that every man's work should have some hope and pleasure always present in it, they must try to bring the change about that would make it so: and all history tells of no greater change in man's life than that would be.

Nevertheless, great as the change may be, Architecture has no prospects in civilisation unless the change be brought about: and 'tis my business to-day, I will not say to convince you of this, but to send some of you away uneasy lest perhaps it may be true; if I can manage that I shall have spoken to some purpose.

Let us see however in what light cultivated people, men not without serious thoughts about life, look to this matter, lest perchance we may seem to be beating the air only: when I have given you an example of this way of thinking, I will answer it to the best of my power in the hopes of making some of you uneasy, discontented, and revolutionary.

Some few months ago I read in a paper the report of a speech made to the assembled work-people of a famous firm of manufacturers (as they are called). The speech was a very humane and thoughtful one, spoken by one of the leaders of modern thought: the firm to whose people it was addressed was and is famous not only for successful commerce, but also for the consideration and goodwill with which it treats its work-people, men and women. No wonder, therefore, that the speech was pleasant reading; for the tone of it was that of a man speaking to his friends who could well understand him and from whom he need hide nothing; but towards the end of it I came across a sentence, which set me a-thinking so hard, that I forgot all that had gone before. It was to this effect, and I think nearly in these very words, 'Since no man would work if it were not that he hoped by working to earn leisure:' and the context showed that this was assumed as a self-evident truth.

Well, for many years I have had my mind fixed on what I in my turn regarded as an axiom which may be worded thus: No work which cannot be done without pleasure in the doing is worth doing; so you may think I was much disturbed at a grave and learned man taking such a completely different view of it with such calmness of certainty. What a little way, I thought, has all Ruskin's fire and eloquence made in driving into people so great a truth, a truth so fertile of consequences!

Then I turned the intrusive sentence over again in my mind: 'No man would work unless he hoped by working to earn leisure:' and I saw that this was another way of putting it: first, all the work of the world is done against the grain: second, what a man does in his 'leisure' is not work.

A poor bribe the hope of such leisure to supplement the other inducement to toil, which I take to be the fear of death by starvation: a poor bribe; for the most of men, like those Yorkshire weavers and spinners (and the more part far worse than they), work for such a very small share of leisure that, one must needs say that if all their hope be in that, they are pretty much beguiled of their hope!

So I thought, and this next, that if it were indeed true and beyond remedy, that no man would work unless he hoped by working to earn leisure, the hell of theologians was but little needed; for a thickly populated civilised country, where, you know, after all people must work at something, would serve their turn well enough. Yet again I knew that this theory of the general and necessary hatefulness of work was indeed the common one, and that all sorts of people held it, who without being monsters of insensibility grew fat and jolly nevertheless.

So to explain this puzzle, I fell to thinking of the one life of which I knew something—my own to wit—and out tumbled the bottom of the theory.

For I tried to think what would happen to me if I were forbidden my ordinary daily work; and I knew that I should die of despair and weariness, unless I could straightway take to something else which I could make my daily work: and it was clear to me that I worked not in the least in the world for the sake of earning leisure by it, but partly driven by the fear of starvation or disgrace, and partly, and even a very great deal, because I love the work itself: and as for my leisure: well I had to confess that part of it I do indeed spend as a dog does—in contemplation, let us say; and like it well enough: but part of it also I spend in work: which work gives me just as much pleasure as my bread-earning work—neither more nor less; and therefore could be no bribe or hope for my work-a-day hours.

Then next I turned my thought to my friends: mere artists, and therefore, you know, lazy people by prescriptive right: I found that the one thing they enjoyed was their work, and that their only idea of happy leisure was other work, just as valuable to the world as their work-a-day work: they only differed from me in liking the dog-like leisure less and the man-like labour more than I do.

I got no further when I turned from mere artists, to important men— public men: I could see no signs of their working merely to earn leisure: they all worked for the work and the deeds' sake. Do rich gentlemen sit up all night in the House of Commons for the sake of earning leisure? if so, 'tis a sad waste of labour. Or Mr. Gladstone? he doesn't seem to have succeeded in winning much leisure by tolerably strenuous work; what he does get he might have got on much easier terms, I am sure.

Does it then come to this, that there are men, say a class of men, whose daily work, though maybe they cannot escape from doing it, is chiefly pleasure to them; and other classes of men whose daily work is wholly irksome to them, and only endurable because they hope while they are about it to earn thereby a little leisure at the day's end?

If that were wholly true the contrast between the two kinds of lives would be greater than the contrast between the utmost delicacy of life and the utmost hardship could show, or between the utmost calm and utmost trouble. The difference would be literally immeasurable.

But I dare not, if I would, in so serious a matter overstate the evils I call on you to attack: it is not wholly true that such immeasurable difference exists between the lives of divers classes of men, or the world would scarce have got through to past the middle of this century: misery, grudging, and tyranny would have destroyed us all.

The inequality even at the worst is not really so great as that: any employment in which a thing can be done better or worse has some pleasure in it, for all men more or less like doing what they can do well: even mechanical labour is pleasant to some people (to me amongst others) if it be not too mechanical.

Nevertheless though it be not wholly true that the daily work of some men is merely pleasant and of others merely grievous; yet it is over true both that things are not very far short of this, and also that if people do not open their eyes in time they will speedily worsen. Some work, nay, almost all the work done by artisans IS too mechanical; and those that work at it must either abstract their thoughts from it altogether, in which case they are but machines while they are at work; or else they must suffer such dreadful weariness in getting through it, as one can scarcely bear to think of. Nature desires that we shall at least live, but seldom, I suppose, allows this latter misery to happen; and the workmen who do purely mechanical work do as a rule become mere machines as far as their work is concerned. Now as I am quite sure that no art, not even the feeblest, rudest, or least intelligent, can come of such work, so also I am sure that such work makes the workman less than a man and degrades him grievously and unjustly, and that nothing can compensate him or us for such degradation: and I want you specially to note that this was instinctively felt in the very earliest days of what are called the industrial arts.

When a man turned the wheel, or threw the shuttle, or hammered the iron, he was expected to make something more than a water-pot, a cloth, or a knife: he was expected to make a work of art also: he could scarcely altogether fail in this, he might attain to making a work of the greatest beauty: this was felt to be positively necessary to the peace of mind both of the maker and the user; and this is it which I have called Architecture: the turning of necessary articles of daily use into works of art.

Certainly, when we come to think of it thus, there does seem to be little less than that immeasurable contrast above mentioned between such work and mechanical work: and most assuredly do I believe that the crafts which fashion our familiar wares need this enlightenment of happiness no less now than they did in the days of the early Pharaohs: but we have forgotten this necessity, and in consequence have reduced handicraft to such degradation, that a learned, thoughtful, and humane man can set forth as an axiom that no man will work except to earn leisure thereby.

But now let us forget any conventional ways of looking at the labour which produces the matters of our daily life, which ways come partly from the wretched state of the arts in modern times, and partly I suppose from that repulsion to handicraft which seems to have beset some minds in all ages: let us forget this, and try to think how it really fares with the divers ways of work in handicrafts.

I think one may divide the work with which Architecture is conversant into three classes: first there is the purely mechanical: those who do this are machines only, and the less they think of what they are doing the better for the purpose, supposing they are properly drilled: the purpose of this work, to speak plainly, is not the making of wares of any kind, but what on the one hand is called employment, on the other what is called money-making: that is to say, in other words, the multiplication of the species of the mechanical workman, and the increase of the riches of the man who sets him to work, called in our modern jargon by a strange perversion of language, a manufacturer: {13} Let us call this kind of work Mechanical Toil.

The second kind is more or less mechanical as the case may be; but it can always be done better or worse: if it is to be well done, it claims attention from the workman, and he must leave on it signs of his individuality: there will be more or less of art in it, over which the workman has at least some control; and he will work on it partly to earn his bread in not too toilsome or disgusting a way, but in a way which makes even his work-hours pass pleasantly to him, and partly to make wares, which when made will be a distinct gain to the world; things that will be praised and delighted in. This work I would call Intelligent Work.

The third kind of work has but little if anything mechanical about it; it is altogether individual; that is to say, that what any man does by means of it could never have been done by any other man. Properly speaking, this work is all pleasure: true, there are pains and perplexities and weariness in it, but they are like the troubles of a beautiful life; the dark places that make the bright ones brighter: they are the romance of the work and do but elevate the workman, not depress him: I would call this Imaginative Work.

Now I can fancy that at first sight it may seem to you as if there were more difference between this last and Intelligent Work, than between Intelligent Work and Mechanical Toil: but 'tis not so. The difference between these two is the difference between light and darkness, between Ormuzd and Ahriman: whereas the difference between Intelligent work and what for want of a better word I am calling Imaginative work, is a matter of degree only; and in times when art is abundant and noble there is no break in the chain from the humblest of the lower to the greatest of the higher class; from the poor weaver's who chuckles as the bright colour comes round again, to the great painter anxious and doubtful if he can give to the world the whole of his thought or only nine-tenths of it, they are all artists—that is men; while the mechanical workman, who does not note the difference between bright and dull in his colours, but only knows them by numbers, is, while he is at his work, no man, but a machine. Indeed when Intelligent work coexists with Imaginative, there is no hard and fast line between them; in the very best and happiest times of art, there is scarce any Intelligent work which is not Imaginative also; and there is but little of effort or doubt, or sign of unexpressed desires even in the highest of the Imaginative work: the blessing of Equality elevates the lesser, and calms the greater, art.

Now further, Mechanical Toil is bred of that hurry and thoughtfulness of civilisation of which, as aforesaid, the middle classes of this country have been such powerful furtherers: on the face of it it is hostile to civilisation, a curse that civilisation has made for itself and can no longer think of abolishing or controlling: such it seems, I say; but since it bears with it change and tremendous change, it may well be that there is something more than mere loss in it: it will full surely destroy art as we know art, unless art newborn destroy it: yet belike at the worst it will destroy other things beside which are the poison of art, and in the long run itself also, and thus make way for the new art, of whose form we know nothing.

Intelligent work is the child of struggling, hopeful, progressive civilisation: and its office is to add fresh interest to simple and uneventful lives, to soothe discontent with innocent pleasure fertile of deeds gainful to mankind; to bless the many toiling millions with hope daily recurring, and which it will by no means disappoint.

Imaginative work is the very blossom of civilisation triumphant and hopeful; it would fain lead men to aspire towards perfection: each hope that it fulfils gives birth to yet another hope: it bears in its bosom the worth and the meaning of life and the counsel to strive to understand everything; to fear nothing and to hate nothing: in a word, 'tis the symbol and sacrament of the Courage of the World.

Now thus it stands to-day with these three kinds of work; Mechanical Toil has swallowed Intelligent Work and all the lower part of Imaginative Work, and the enormous mass of the very worst now confronts the slender but still bright array of the very best: what is left of art is rallied to its citadel of the highest intellectual art, and stands at bay there.

At first sight its hope of victory is slender indeed: yet to us now living it seems as if man had not yet lost all that part of his soul which longs for beauty: nay we cannot but hope that it is not yet dying. If we are not deceived in that hope, if the art of to-day has really come alive out of the slough of despond which we call the eighteenth century, it will surely grow and gather strength and draw to it other forms of intellect and hope that now scarcely know it; and then, whatever changes it may go through, it will at the last be victorious, and bring abundant content to mankind. On the other hand, if, as some think, it be but the reflection and feeble ghost of that glorious autumn which ended the good days of the mighty art of the Middle Ages, it will take but little killing: Mechanical Toil will sweep over all the handiwork of man, and art will be gone.

I myself am too busy a man to trouble myself much as to what may happen after that: I can only say that if you do not like the thought of that dull blank, even if you know or care little for art, do not cast the thought of it aside, but think of it again and again, and cherish the trouble it breeds till such a future seems unendurable to you; and then make up your minds that you will not bear it; and even if you distrust the artists that now are, set yourself to clear the way for the artists that are to come. We shall not count you among our enemies then, however hardly you deal with us.

I have spoken of one most important part of that task; I have prayed you to set yourselves earnestly to protecting what is left, and recovering what is lost of the Natural Fairness of the Earth: no less I pray you to do what you may to raise up some firm ground amid the great flood of mechanical toil, to make an effort to win human and hopeful work for yourselves and your fellows.

But if our first task of guarding the beauty of the Earth was hard, this is far harder, nor can I pretend to think that we can attack our enemy directly; yet indirectly surely something may be done, or at least the foundations laid for something.

For Art breeds Art, and every worthy work done and delighted in by maker and user begets a longing for more: and since art cannot be fashioned by mechanical toil, the demand for real art will mean a demand for intelligent work, which if persisted in will in time create its due supply—at least I hope so.

I believe that what I am now saying will be well understood by those who really care about art, but to speak plainly I know that these are rarely to be found even among the cultivated classes: it must be confessed that the middle classes of our civilisation have embraced luxury instead of art, and that we are even so blindly base as to hug ourselves on it, and to insult the memory of valiant people of past times and to mock at them because they were not encumbered with the nuisances that foolish habit has made us look on as necessaries. Be sure that we are not beginning to prepare for the art that is to be, till we have swept all that out of our minds, and are setting to work to rid ourselves of all the useless luxuries (by some called comforts) that make our stuffy art-stifling houses more truly savage than a Zulu's kraal or an East Greenlander's snow hut.

I feel sure that many a man is longing to set his hand to this if he only durst; I believe that there are simple people who think that they are dull to art, and who are really only perplexed and wearied by finery and rubbish: if not from these, 'tis at least from the children of these that we may look for the beginnings of the building up of the art that is to be.

Meanwhile, I say, till the beginning of new construction is obvious, let us be at least destructive of the sham art: it is full surely one of the curses of modern life, that if people have not time and eyes to discern or money to buy the real object of their desire, they must needs have its mechanical substitute. On this lazy and cowardly habit feeds and grows and flourishes mechanical toil and all the slavery of mind and body it brings with it: from this stupidity are born the itch of the public to over-reach the tradesmen they deal with, the determination (usually successful) of the tradesmen to over-reach them, and all the mockery and flouting that has been cast of late (not without reason) on the British tradesman and the British workman,—men just as honest as ourselves, if we would not compel them to cheat us, and reward them for doing it.

Now if the public knew anything of art, that is excellence in things made by man, they would not abide the shams of it; and if the real thing were not to be had, they would learn to do without, nor think their gentility injured by the forbearance.

Simplicity of life, even the barest, is not a misery, but the very foundation of refinement: a sanded floor and whitewashed walls, and the green trees, and flowery meads, and living waters outside; or a grimy palace amid the smoke with a regiment of housemaids always working to smear the dirt together so that it may be unnoticed; which, think you, is the most refined, the most fit for a gentleman of those two dwellings?

So I say, if you cannot learn to love real art, at least learn to hate sham art and reject it. It is not so much because the wretched thing is so ugly and silly and useless that I ask you to cast it from you; it is much more because these are but the outward symbols of the poison that lies within them: look through them and see all that has gone to their fashioning, and you will see how vain labour, and sorrow, and disgrace have been their companions from the first,- -and all this for trifles that no man really needs!

Learn to do without; there is virtue in those words; a force that rightly used would choke both demand and supply of Mechanical Toil: would make it stick to its last: the making of machines.

And then from simplicity of life would rise up the longing for beauty, which cannot yet be dead in men's souls, and we know that nothing can satisfy that demand but Intelligent work rising gradually into Imaginative work; which will turn all 'operatives' into workmen, into artists, into men.

Now, I have been trying to show you how the hurry of modern Civilisation, accompanied by the tyrannous Organisation of labour which was a necessity to the full development of Competitive Commerce, has taken from the people at large, gentle and simple, the eyes to discern and the hands to fashion that popular art which was once the chief solace and joy of the world: I have asked you to think of that as no light matter, but a grievous mishap: I have prayed you to strive to remedy this evil: first by guarding jealously what is left, and by trying earnestly to win back what is lost of the Fairness of the Earth; and next by rejecting luxury, that you may embrace art, if you can, or if indeed you in your short lives cannot learn what art means, that you may at least live a simple life fit for men.

And in all I have been saying, what I have been really urging on you is this—Reverence for the life of Man upon the Earth: let the past be past, every whit of it that is not still living in us: let the dead bury their dead, but let us turn to the living, and with boundless courage and what hope we may, refuse to let the Earth be joyless in the days to come.

What lies before us of hope or fear for this? Well, let us remember that those past days whose art was so worthy, did nevertheless forget much of what was due to the Life of Man upon the Earth; and so belike it was to revenge this neglect that art was delivered to our hands for maiming: to us, who were blinded by our eager chase of those things which our forefathers had neglected, and by the chase of other things which seemed revealed to us on our hurried way, not seldom, it may be for our beguiling.

And of that to which we were blinded, not all was unworthy: nay the most of it was deep-rooted in men's souls, and was a necessary part of their Life upon the Earth, and claims our reverence still: let us add this knowledge to our other knowledge: and there will still be a future for the arts. Let us remember this, and amid simplicity of life turn our eyes to real beauty that can be shared by all: and then though the days worsen, and no rag of the elder art be left for our teaching, yet the new art may yet arise among us, and even if it have the hands of a child together with the heart of a troubled man, still it may bear on for us to better times the tokens of our reverence for the Life of Man upon the Earth. For we indeed freed from the bondage of foolish habit and dulling luxury might at last have eyes wherewith to see: and should have to babble to one another many things of our joy in the life around us: the faces of people in the streets bearing the tokens of mirth and sorrow and hope, and all the tale of their lives: the scraps of nature the busiest of us would come across; birds and beasts and the little worlds they live in; and even in the very town the sky above us and the drift of the clouds across it; the wind's hand on the slim trees, and its voice amid their branches, and all the ever-recurring deeds of nature; nor would the road or the river winding past our homes fail to tell us stories of the country-side, and men's doings in field and fell. And whiles we should fall to muse on the times when all the ways of nature were mere wonders to men, yet so well beloved of them that they called them by men's names and gave them deeds of men to do; and many a time there would come before us memories of the deed of past times, and of the aspirations of those mighty peoples whose deaths have made our lives, and their sorrows our joys.

How could we keep silence of all this? and what voice could tell it but the voice of art: and what audience for such a tale would content us but all men living on the Earth?

This is what Architecture hopes to be: it will have this life, or else death; and it is for us now living between the past and the future to say whether it shall live or die.



Footnotes:

{1} Delivered before the Trades' Guild of Learning, December 4, 1877.

{2} Delivered before the Birmingham Society of Arts and School of Design, February 19, 1879.

{3} Now incorporated in the Handbook of Indian Art, by Dr. (now Sir George) Birdwood, published by the Science and Art Department.

{4} These were originally published in Fun.

{5} Delivered before the Birmingham Society of Arts and School of Design, February 19, 1880.

{6} As I corrected these sheets for the press, the case of two such pieces of destruction is forced upon me: first, the remains of the Refectory of Westminster Abbey, with the adjacent Ashburnham House, a beautiful work, probably by Inigo Jones; and second, Magdalen Bridge at Oxford. Certainly this seems to mock my hope of the influence of education on the Beauty of Life; since the first scheme of destruction is eagerly pressed forward by the authorities of Westminster School, the second scarcely opposed by the resident members of the University of Oxford.

{7} Since perhaps some people may read these words who are not of Birmingham, I ought to say that it was authoritatively explained at the meeting to which I addressed these words, that in Birmingham the law is strictly enforced.

{8} Not QUITE always: in the little colony at Bedford Park, Chiswick, as many trees have been left as possible, to the boundless advantage of its quaint and pretty architecture.

{9} A Paper read before tile Trades' Guild of Learning and the Birmingham Society of Artists.

{10} I know that well-designed hammered iron trellises and gates have been used happily enough, though chiefly in rather grandiose gardens, and so they might be again—one of these days—but I fear not yet awhile.

{11} Delivered at the London Institution, March 10, 1880.

{12} Indeed it is a new world now, when the new Cowley dog-holes must needs slay Magdalen Bridge!—Nov. 1881.

{13} Or, to put it plainer still, the unlimited breeding of mechanical workmen as MECHANICAL WORKMEN, not as MEN.

THE END