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beautiful thing。 The mark of all good art is not that the thing
done is done exactly or finely； for machinery may do as much； but
that it is worked out with the head and the workman's heart。 I
cannot impress the point too frequently that beautiful and rational
designs are necessary in all work。 I did not imagine； until I went
into some of your simpler cities； that there was so much bad work
done。 I found； where I went； bad wall…papers horribly designed；
and coloured carpets； and that old offender the horse…hair sofa；
whose stolid look of indifference is always so depressing。 I found
meaningless chandeliers and machine…made furniture； generally of
rosewood； which creaked dismally under the weight of the ubiquitous
interviewer。 I came across the small iron stove which they always
persist in decorating with machine…made ornaments； and which is as
great a bore as a wet day or any other particularly dreadful
institution。 When unusual extravagance was indulged in； it was
garnished with two funeral urns。
It must always be remembered that what is well and carefully made
by an honest workman； after a rational design； increases in beauty
and value as the years go on。 The old furniture brought over by
the Pilgrims； two hundred years ago； which I saw in New England； is
just as good and as beautiful to…day as it was when it first came
here。 Now； what you must do is to bring artists and handicraftsmen
together。 Handicraftsmen cannot live； certainly cannot thrive；
without such companionship。 Separate these two and you rob art of
all spiritual motive。
Having done this； you must place your workman in the midst of
beautiful surroundings。 The artist is not dependent on the visible
and the tangible。 He has his visions and his dreams to feed on。
But the workman must see lovely forms as he goes to his work in the
morning and returns at eventide。 And； in connection with this； I
want to assure you that noble and beautiful designs are never the
result of idle fancy or purposeless day…dreaming。 They come only
as the accumulation of habits of long and delightful observation。
And yet such things may not be taught。 Right ideas concerning them
can certainly be obtained only by those who have been accustomed to
rooms that are beautiful and colours that are satisfying。
Perhaps one of the most difficult things for us to do is to choose
a notable and joyous dress for men。 There would be more joy in
life if we were to accustom ourselves to use all the beautiful
colours we can in fashioning our own clothes。 The dress of the
future； I think； will use drapery to a great extent and will abound
with joyous colour。 At present we have lost all nobility of dress
and； in doing so； have almost annihilated the modern sculptor。
And； in looking around at the figures which adorn our parks； one
could almost wish that we had completely killed the noble art。 To
see the frock…coat of the drawing…room done in bronze； or the
double waistcoat perpetuated in marble； adds a new horror to death。
But indeed； in looking through the history of costume； seeking an
answer to the questions we have propounded； there is little that is
either beautiful or appropriate。 One of the earliest forms is the
Greek drapery which is exquisite for young girls。 And then； I
think we may be pardoned a little enthusiasm over the dress of the
time of Charles I。； so beautiful indeed； that in spite of its
invention being with the Cavaliers it was copied by the Puritans。
And the dress for the children of that time must not be passed
over。 It was a very golden age of the little ones。 I do not think
that they have ever looked so lovely as they do in the pictures of
that time。 The dress of the last century in England is also
peculiarly gracious and graceful。 There is nothing bizarre or
strange about it； but it is full of harmony and beauty。 In these
days； when we have suffered dreadfully from the incursions of the
modern milliner； we hear ladies boast that they do not wear a dress
more than once。 In the old days； when the dresses were decorated
with beautiful designs and worked with exquisite embroidery； ladies
rather took a pride in bringing out the garment and wearing it many
times and handing it down to their daughters … a process that
would； I think； be quite appreciated by a modern husband when
called upon to settle his wife's bills。
And how shall men dress？ Men say that they do not particularly
care how they dress； and that it is little matter。 I am bound to
reply that I do not think that you do。 In all my journeys through
the country； the only well…dressed men that I saw … and in saying
this I earnestly deprecate the polished indignation of your Fifth
Avenue dandies … were the Western miners。 Their wide…brimmed hats；
which shaded their faces from the sun and protected them from the
rain； and the cloak； which is by far the most beautiful piece of
drapery ever invented； may well be dwelt on with admiration。 Their
high boots； too； were sensible and practical。 They wore only what
was comfortable； and therefore beautiful。 As I looked at them I
could not help thinking with regret of the time when these
picturesque miners would have made their fortunes and would go East
to assume again all the abominations of modern fashionable attire。
Indeed； so concerned was I that I made some of them promise that
when they again appeared in the more crowded scenes of Eastern
civilisation they would still continue to wear their lovely
costume。 But I do not believe they will。
Now； what America wants to…day is a school of rational art。 Bad
art is a great deal worse than no art at all。 You must show your
workmen specimens of good work so that they come to know what is
simple and true and beautiful。 To that end I would have you have a
museum attached to these schools … not one of those dreadful modern
institutions where there is a stuffed and very dusty giraffe； and a
case or two of fossils； but a place where there are gathered
examples of art decoration from various periods and countries。
Such a place is the South Kensington Museum in London； whereon we
build greater hopes for the future than on any other one thing。
There I go every Saturday night； when the museum is open later than
usual； to see the handicraftsman； the wood…worker； the glass…blower
and the worker in metals。 And it is here that the man of
refinement and culture comes face to face with the workman who
ministers to his joy。 He comes to know more of the nobility of the
workman； and the workman； feeling the appreciation； comes to know
more of the nobility of his work。
You have too many white walls。 More colour is wanted。 You should
have such men as Whistler among you to teach you the beauty and joy
of colour。 Take Mr。 Whistler's 'Symphony in White；' which you no
doubt have imagined to be something quite bizarre。 It is nothing
of the sort。 Think of a cool grey sky flecked here and there with
white clouds； a grey ocean and three wonderfully beautiful figures
robed in white； leaning over the water and dropping white flowers
from their fingers。 Here is no extensive intellectual scheme to
trouble you； and no metaphysics of which we have had quite enough
in art。 But if the simple and unaided colour strike the right
keynote； the whole conception is made clear。 I regard Mr。
Whistler's famous Peacock Room as the finest thing in colour and
art decoration which the world has known since Correggio painted
that wonderful room in Italy where the little children are dancing
on the walls。 Mr。 Whistler finished another room just before I
came away … a breakfast room in blue and yellow。 The ceiling was a
light blue； the cabinet…work and the furniture were of a yellow
wood； the curtains at the windows were white and worked in yellow；
and when the table was set for breakfast with dainty blue china
nothing can be conceived at once so simple and so joyous。
T