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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 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 t

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