man shall, like Mr. Pecksniff, squint at a sheet of paper, and that the results of that squint shall set a vast number of well-fed, contented operatives (they are ashamed to call them workmen) turning crank handles for ten hours a-day, bidding them keep what gifts and education they may have been born with for their--I was going to say leisure hours, but I don't know how to, for if I were to work ten hours a-day at work I despised and hated, I should spend my leisure I hope in political agitation, but I fear--in drinking. So let us say that the aforesaid operatives will have to keep their inborn gifts and education for their dreams. Well, from this system are to come threefold blessings--food and clothing, poorish lodgings and a little leisure to the operatives, enormous riches to the capitalists that rent them, together with moderate riches to the squinter on the paper; and lastly, very decidedly lastly, abundance of cheap art for the operatives or crank turners to buy--in their dreams.
Well, there have been many other benevolent and economical schemes for keeping your cake after you have eaten it, for skinning a flint, and boiling a flea down for its tallow and glue, and this one of cheap art may just go its way with the others.
Yet to my mind real art is cheap, even at the price that must be paid for it. That price is, in short, the providing of a handicraftsman who shall put his own individual intelligence and enthusiasm into the goods he fashions. So far from his labour being 'divided,' which is the technical phrase for his always doing one minute piece of work, and never being allowed to think of any other; so far from that, he must know all about the ware he is making and its relation to similar wares; he must have a natural aptitude for his work so strong, that no education can force him away from his special bent. He must be allowed to think of what he is doing, and to vary his work as the circumstances of it vary, and his own moods. He must be for ever striving to make the piece he is at work at better than the last. He must refuse at anybody's bidding to turn out, I won't say a bad, but even an indifferent piece of work, whatever the public want, or think they want. He must have a voice, and a voice worth listening to in the whole affair.
Such a man I should call, not an operative, but a workman. You may call him an artist if you will, for I have been describing the qualities of artists as I know them; but a capitalist will be apt to call him a 'troublesome fellow,' a radical of radicals, and, in fact, he will be troublesome--mere grit and friction in the wheels of the money-grinding machine.
Yes, such a man will stop the machine perhaps; but it is only through him that you can have art, i.e. civilisation unmaimed, if you really want it; so consider, if you do want it, and will pay the price and give the workman his due.
What is his due? that is, what can he take from you, and be the man that you want? Money enough to keep him from fear of want or degradation for him and his; leisure enough from bread-earning work (even though it be pleasant to him) to give him time to read and think, and connect his own life with the life of the great world; work enough of the kind aforesaid, and praise of it, and encouragement enough to make him feel good friends with his fellows; and lastly (not least, for 'tis verily part of the bargain), his own due share of art, the chief part of which will be a dwelling that does not lack the beauty which Nature would freely allow it, if our own perversity did not turn Nature out of doors.
That is the bargain to be struck, such work and such wages; and I believe that if the world wants the work and is willing to pay the wages, the workmen will not long be wanting.
On the other hand, if it be certain that the world--that is, modern civilised society--will nevermore ask for such workmen, then I am as sure as that I stand here breathing, that art is dying: that the spark still smouldering is not to be quickened into life, but damped into death. And indeed, often, in my fear of that, I think, 'Would that I could see what is to take the place of art!' For, whether modern civilised society CAN make that bargain aforesaid, who shall say? I know well--who could fail to know it?--that the difficulties are great.
Too apt has the world ever been, 'for the sake of life to cast away the reasons for living,' and perhaps is more and more apt to it as the conditions of life get more intricate, as the race to avoid ruin, which seems always imminent and overwhelming, gets swifter and more terrible. Yet how would it be if we were to lay aside fear and turn in the face of all that, and stand by our claim to have, one and all of us, reasons for living. Mayhap the heavens would not fall on us if we did.
Anyhow, let us make up our minds which we want, art, or the absence of art, and be prepared if we want art, to give up many things, and in many ways to change the conditions of life. Perhaps there are those who will understand me when I say that that necessary change may make life poorer for the rich, rougher for the refined, and, it may be, duller for the gifted--for a while; that it may even take such forms that not the best or wisest of us shall always be able to know it for a friend, but may at whiles fight against it as a foe. Yet, when the day comes that gives us visible token of art rising like the sun from below--when it is no longer a justly despised whim of the rich, or a lazy habit of the so-called educated, but a thing that labour begins to crave as a necessity, even as labour is a necessity for all men--in that day how shall all trouble be forgotten, all folly forgiven--even our own!
Little by little it must come, I know. Patience and prudence must not be lacking to us, but courage still less. Let us be a Gideon's band. 'Whosoever is fearful and afraid, let him return, and depart early from Mount Gilead.' And among that band let there be no delusions; let the last encouraging lie have been told, the last after-dinner humbug spoken, for surely, though the days seem dark, we may remember that men longed for freedom while yet they were slaves; that it was in times when swords were reddened every day that men began to think of peace and order, and to strive to win them.
We who think, and can enjoy the feast that Nature has spread for us, is it not both our right and our duty to rebel against that slavery of the waste of life's joys, which people thoughtless and joyless, by no fault of their own, have wrapped the world in? From our own selves we can tell that there is hope of victory in our rebellion, since we have art enough in our lives, not to content us, but to make us long for more, and that longing drives us into trying to spread art and the longing for art; and as it is with us so it will be with those that we win over: little by little, we may well hope, will do its work, till at last a great many men will have enough of art to see how little they have, and how much they might better their lives, if every man had his due share of art--that is, just so much as he could use if a fair chance were given him.
Is that, indeed, too extravagant a hope? Have you not heard how it has gone with many a cause before now? First few men heed it; next most men contemn it; lastly, all men accept it--and the cause is won.
THE PROSPECTS OF ARCHITECTURE IN CIVILISATION {11}
'--the horrible doctrine that this universe is a Cockney Nightmare-- which no creature ought for a moment to believe or listen to.'-- THOMAS CARLYLE.
The word Architecture has, I suppose, to most of you the meaning of the art of building nobly and ornamentally. Now I believe the practice of this art to be one of the most important things which man can turn his hand to, and the consideration of it to be worth the attention of serious people, not for an hour only, but for a good part of their lives, even though they may not have to do with it professionally.
But, noble as that art is by itself, and though it is specially the art of civilisation, it neither ever has existed nor never can exist alive and progressive by itself, but must cherish and be cherished by all the crafts whereby men make the things which they intend shall be beautiful, and shall last somewhat beyond the passing day.
It is this union of the arts, mutually helpful and harmoniously subordinated one to another, which I have learned to think of as Architecture, and when I use the word to-night, that is what I shall mean by it and nothing narrower.
A great subject truly, for it embraces the consideration of the whole external surroundings of the life of man; we cannot escape from it if we would so long as we are part of civilisation, for it means the moulding and altering to human needs of the very face of the earth itself, except in the outermost desert.
Neither can we hand over our interests in it to a little band of