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daily work of the artificers he saw around him … as in those lovely
windows of Chartres … where the dyer dips in the vat and the potter
sits at the wheel； and the weaver stands at the loom： real
manufacturers these； workers with the hand； and entirely delightful
to look at； not like the smug and vapid shopman of our time； who
knows nothing of the web or vase he sells； except that he is
charging you double its value and thinking you a fool for buying
it。 Nor can I but just note； in passing； the immense influence the
decorative work of Greece and Italy had on its artists； the one
teaching the sculptor that restraining influence of design which is
the glory of the Parthenon； the other keeping painting always true
to its primary； pictorial condition of noble colour which is the
secret of the school of Venice； for I wish rather； in this lecture
at least； to dwell on the effect that decorative art has on human
life … on its social not its purely artistic effect。
There are two kinds of men in the world； two great creeds； two
different forms of natures： men to whom the end of life is action；
and men to whom the end of life is thought。 As regards the latter；
who seek for experience itself and not for the fruits of
experience； who must burn always with one of the passions of this
fiery…coloured world； who find life interesting not for its secret
but for its situations； for its pulsations and not for its purpose；
the passion for beauty engendered by the decorative arts will be to
them more satisfying than any political or religious enthusiasm；
any enthusiasm for humanity； any ecstasy or sorrow for love。 For
art comes to one professing primarily to give nothing but the
highest quality to one's moments； and for those moments' sake。 So
far for those to whom the end of life is thought。 As regards the
others； who hold that life is inseparable from labour； to them
should this movement be specially dear： for； if our days are
barren without industry； industry without art is barbarism。
Hewers of wood and drawers of water there must be always indeed
among us。 Our modern machinery has not much lightened the labour
of man after all： but at least let the pitcher that stands by the
well be beautiful and surely the labour of the day will be
lightened： let the wood be made receptive of some lovely form；
some gracious design； and there will come no longer discontent but
joy to the toiler。 For what is decoration but the worker's
expression of joy in his work？ And not joy merely … that is a
great thing yet not enough … but that opportunity of expressing his
own individuality which； as it is the essence of all life； is the
source of all art。 'I have tried；' I remember William Morris
saying to me once； 'I have tried to make each of my workers an
artist； and when I say an artist I mean a man。' For the worker
then； handicraftsman of whatever kind he is； art is no longer to be
a purple robe woven by a slave and thrown over the whitened body of
a leprous king to hide and to adorn the sin of his luxury； but
rather the beautiful and noble expression of a life that has in it
something beautiful and noble。
And so you must seek out your workman and give him； as far as
possible； the right surroundings； for remember that the real test
and virtue of a workman is not his earnestness nor his industry
even； but his power of design merely； and that 'design is not the
offspring of idle fancy： it is the studied result of accumulative
observation and delightful habit。' All the teaching in the world
is of no avail if you do not surround your workman with happy
influences and with beautiful things。 It is impossible for him to
have right ideas about colour unless he sees the lovely colours of
Nature unspoiled； impossible for him to supply beautiful incident
and action unless he sees beautiful incident and action in the
world about him。
For to cultivate sympathy you must be among living things and
thinking about them； and to cultivate admiration you must be among
beautiful things and looking at them。 'The steel of Toledo and the
silk of Genoa did but give strength to oppression and lustre to
pride；' as Mr。 Ruskin says； let it be for you to create an art that
is made by the hands of the people for the joy of the people； to
please the hearts of the people； too； an art that will be your
expression of your delight in life。 There is nothing 'in common
life too mean； in common things too trivial to be ennobled by your
touch'； nothing in life that art cannot sanctify。
You have heard； I think； a few of you； of two flowers connected
with the aesthetic movement in England； and said （I assure you；
erroneously） to be the food of some aesthetic young men。 Well； let
me tell you that the reason we love the lily and the sunflower； in
spite of what Mr。 Gilbert may tell you； is not for any vegetable
fashion at all。 It is because these two lovely flowers are in
England the two most perfect models of design； the most naturally
adapted for decorative art … the gaudy leonine beauty of the one
and the precious loveliness of the other giving to the artist the
most entire and perfect joy。 And so with you： let there be no
flower in your meadows that does not wreathe its tendrils around
your pillows； no little leaf in your Titan forests that does not
lend its form to design； no curving spray of wild rose or brier
that does not live for ever in carven arch or window or marble； no
bird in your air that is not giving the iridescent wonder of its
colour； the exquisite curves of its wings in flight； to make more
precious the preciousness of simple adornment。
We spend our days； each one of us； in looking for the secret of
life。 Well； the secret of life is in art。
HOUSE DECORATION
IN my last lecture I gave you something of the history of Art in
England。 I sought to trace the influence of the French Revolution
upon its development。 I said something of the song of Keats and
the school of the pre…Raphaelites。 But I do not want to shelter
the movement； which I have called the English Renaissance； under
any palladium however noble； or any name however revered。 The
roots of it have； indeed； to be sought for in things that have long
passed away； and not； as some suppose； in the fancy of a few young
men … although I am not altogether sure that there is anything much
better than the fancy of a few young men。
When I appeared before you on a previous occasion； I had seen
nothing of American art save the Doric columns and Corinthian
chimney…pots visible on your Broadway and Fifth Avenue。 Since
then； I have been through your country to some fifty or sixty
different cities； I think。 I find that what your people need is
not so much high imaginative art but that which hallows the vessels
of everyday use。 I suppose that the poet will sing and the artist
will paint regardless whether the world praises or blames。 He has
his own world and is independent of his fellow…men。 But the
handicraftsman is dependent on your pleasure and opinion。 He needs
your encouragement and he must have beautiful surroundings。 Your
people love art but do not sufficiently honour the handicraftsman。
Of course； those millionaires who can pillage Europe for their
pleasure need have no care to encourage such； but I speak for those
whose desire for beautiful things is larger than their means。 I
find that one great trouble all over is that your workmen are not
given to noble designs。 You cannot be indifferent to this； because
Art is not something which you can take or leave。 It is a
necessity of human life。
And what is the meaning of this beautiful decoration which we call
art？ In the first place； it means value to the workman and it
means the pleasure which he must necessarily take in making a
beautiful thing。 The mark of all good art is not that the thing
done is done exactly or finely； for machiner