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'How could I？' said Goethe； when reproached for not writing like
Korner against the French。 'How could I； to whom barbarism and
culture alone are of importance； hate a nation which is among the
most cultivated of the earth； a nation to which I owe a great part
of my own cultivation？'
Mighty empires； too； there must always be as long as personal
ambition and the spirit of the age are one； but art at least is the
only empire which a nation's enemies cannot take from her by
conquest； but which is taken by submission only。 The sovereignty
of Greece and Rome is not yet passed away； though the gods of the
one be dead and the eagles of the other tired。
And we in our Renaissance are seeking to create a sovereignty that
will still be England's when her yellow leopards have grown weary
of wars and the rose of her shield is crimsoned no more with the
blood of battle； and you； too； absorbing into the generous heart of
a great people this pervading artistic spirit； will create for
yourselves such riches as you have never yet created； though your
land be a network of railways and your cities the harbours for the
galleys of the world。
I know； indeed； that the divine natural prescience of beauty which
is the inalienable inheritance of Greek and Italian is not our
inheritance。 For such an informing and presiding spirit of art to
shield us from all harsh and alien influences； we of the Northern
races must turn rather to that strained self…consciousness of our
age which； as it is the key…note of all our romantic art； must be
the source of all or nearly all our culture。 I mean that
intellectual curiosity of the nineteenth century which is always
looking for the secret of the life that still lingers round old and
bygone forms of culture。 It takes from each what is serviceable
for the modern spirit … from Athens its wonder without its worship；
from Venice its splendour without its sin。 The same spirit is
always analysing its own strength and its own weakness； counting
what it owes to East and to West； to the olive…trees of Colonus and
to the palm…trees of Lebanon； to Gethsemane and to the garden of
Proserpine。
And yet the truths of art cannot be taught： they are revealed
only； revealed to natures which have made themselves receptive of
all beautiful impressions by the study and worship of all beautiful
things。 And hence the enormous importance given to the decorative
arts in our English Renaissance； hence all that marvel of design
that comes from the hand of Edward Burne…Jones； all that weaving of
tapestry and staining of glass； that beautiful working in clay and
metal and wood which we owe to William Morris； the greatest
handicraftsman we have had in England since the fourteenth century。
So； in years to come there will be nothing in any man's house which
has not given delight to its maker and does not give delight to its
user。 The children； like the children of Plato's perfect city；
will grow up 'in a simple atmosphere of all fair things' … I quote
from the passage in the REPUBLIC … 'a simple atmosphere of all fair
things； where beauty； which is the spirit of art； will come on eye
and ear like a fresh breath of wind that brings health from a clear
upland； and insensibly and gradually draw the child's soul into
harmony with all knowledge and all wisdom； so that he will love
what is beautiful and good； and hate what is evil and ugly （for
they always go together） long before he knows the reason why； and
then when reason comes will kiss her on the cheek as a friend。'
That is what Plato thought decorative art could do for a nation；
feeling that the secret not of philosophy merely but of all
gracious existence might be externally hidden from any one whose
youth had been passed in uncomely and vulgar surroundings； and that
the beauty of form and colour even； as he says； in the meanest
vessels of the house； will find its way into the inmost places of
the soul and lead the boy naturally to look for that divine harmony
of spiritual life of which art was to him the material symbol and
warrant。
Prelude indeed to all knowledge and all wisdom will this love of
beautiful things be for us； yet there are times when wisdom becomes
a burden and knowledge is one with sorrow： for as every body has
its shadow so every soul has its scepticism。 In such dread moments
of discord and despair where should we； of this torn and troubled
age； turn our steps if not to that secure house of beauty where
there is always a little forgetfulness； always a great joy； to that
CITTE DIVINA； as the old Italian heresy called it； the divine city
where one can stand； though only for a brief moment； apart from the
division and terror of the world and the choice of the world too？
This is that CONSOLATION DES ARTS which is the key…note of
Gautier's poetry； the secret of modern life foreshadowed … as
indeed what in our century is not？ … by Goethe。 You remember what
he said to the German people： 'Only have the courage；' he said；
'to give yourselves up to your impressions； allow yourselves to be
delighted； moved； elevated； nay instructed； inspired for something
great。' The courage to give yourselves up to your impressions：
yes； that is the secret of the artistic life … for while art has
been defined as an escape from the tyranny of the senses； it is an
escape rather from the tyranny of the soul。 But only to those who
worship her above all things does she ever reveal her true
treasure： else will she be as powerless to aid you as the
mutilated Venus of the Louvre was before the romantic but sceptical
nature of Heine。
And indeed I think it would be impossible to overrate the gain that
might follow if we had about us only what gave pleasure to the
maker of it and gives pleasure to its user； that being the simplest
of all rules about decoration。 One thing； at least； I think it
would do for us： there is no surer test of a great country than
how near it stands to its own poets； but between the singers of our
day and the workers to whom they would sing there seems to be an
ever…widening and dividing chasm； a chasm which slander and mockery
cannot traverse； but which is spanned by the luminous wings of
love。
And of such love I think that the abiding presence in our houses of
noble imaginative work would be the surest seed and preparation。 I
do not mean merely as regards that direct literary expression of
art by which； from the little red…and…black cruse of oil or wine； a
Greek boy could learn of the lionlike splendour of Achilles； of the
strength of Hector and the beauty of Paris and the wonder of Helen；
long before he stood and listened in crowded market…place or in
theatre of marble； or by which an Italian child of the fifteenth
century could know of the chastity of Lucrece and the death of
Camilla from carven doorway and from painted chest。 For the good
we get from art is not what we learn from it； it is what we become
through it。 Its real influence will be in giving the mind that
enthusiasm which is the secret of Hellenism； accustoming it to
demand from art all that art can do in rearranging the facts of
common life for us … whether it be by giving the most spiritual
interpretation of one's own moments of highest passion or the most
sensuous expression of those thoughts that are the farthest removed
from sense； in accustoming it to love the things of the imagination
for their own sake； and to desire beauty and grace in all things。
For he who does not love art in all things does not love it at all；
and he who does not need art in all things does not need it at all。
I will not dwell here on what I am sure has delighted you all in
our great Gothic cathedrals。 I mean how the artist of that time；
handicraftsman himself in stone or glass； found the best motives
for his art； always ready for his hand and always beautiful； in the
daily work of the artificers he saw around him … as i