new method for the expression of three dimensions but this method will be barren unless those who practise it enrich it with their own observation and delight. Already some of them seem to be weary of the barrenness of pure abstraction; they see that any fool can hide his own commonplace in cubism as an ostrich hides its head in the sand; but we would rather have honest chocolate-box ladies than the kaleidoscopic but betraying chocolate-box fragments of the futurist.

The Artist and the Tradesman

HE Exhibition of the Arts and Crafts

THE

at Burlington House was an acknowledgment of the fact that there are other arts besides those of painting, sculpture, and architecture, or rather perhaps that the arts subsidiary to architecture are arts and not merely commercial activities. Burlington House would protest, of course, that it is not a shop; but now at last objects are to be shown in it which the great mass of the public expects to see only in shops and expects to be produced merely to sell. We remember how Lord Grimthorpe called Morris a poetic upholsterer. He meant there was something incongruous in the combination of an upholsterer and a poet; he would have seen nothing incongruous in the combination of a poet and a painter, because he would have called a painter an artist; but an upholsterer was to him merely a tradesman, and tradesmen are not expected to write poetry. Their business is to sell things and to make objects for sale.

In that respect he thought like the mass of the public now. For them the painter has some prestige, because he is supposed not to be a tradesman, not to paint his pictures merely so that he may sell them. He has to live by his art, of course, but he practises it also because he enjoys it; and, if he is an artist, he will not paint bad pictures merely because they are what the public wants. But it is the business of those who make furniture and such things to produce what the public wants. No one would blame them for producing what they do not like themselves, any more than one would blame a pill-maker for producing pills that he would not swallow himself. The pill-maker and the furniture-maker are both tradesmen producing objects in answer to a demand. They have no prestige and no conscience is expected of them.

Now in Italy in the fifteenth century this distinction between the artist and the tradesman did not exist. The painter was a tradesman; he kept a shop and he had none of that peculiar prestige which he possesses now. But of the tradesman more was expected than is expected now; for instance, good workmanship and material were expected of him and also good design. He did not produce articles

merely to sell, whether they were pictures or wedding-chests or jewelry or pots and pans. He made all these other things just as he made pictures, with some pleasure and conscience in his own work; and it was the best craftsman who became a painter or sculptor, merely because those were the most difficult crafts. Now it is the gentleman with artistic faculty who becomes a painter; the poor man, however much of that faculty he possesses, remains a workman without any artistic prestige and without any temptation to consider the quality of his work or to take any pleasure in it. This is a commonplace, no doubt; but it remains a fact, however often it may have been repeated, and a social fact with a constant evil effect upon all the arts. Because the painter is supposed to be an artist and nothing else and the craftsman a tradesman and nothing else, we do not expect the virtues of the craftsman from the painter nor the virtues of the artist from the craftsman. For us there is nothing but mystery in the work of the artist and no mystery at all in the work of the craftsman. The painter can be as silly as he likes, and we do not laugh at him, if we are persons of culture, because his art is a sacred mystery. But, as for the crafts

man, there is nothing sacred about his work. It is sold in a shop and made to be sold; and all we expect of it is that it shall be in the fashion, which means that it shall be what the commercial traveller thinks he can sell. There are, of course, a few craftsman who are thought of as artists, and their work at once becomes a sacred mystery, like pictures. They too have a right to be as silly as they like; and some people will buy their work, however silly it may be, as they would buy pictures-that is to say, for the good of their souls and not because they like it.

How are we to get rid of this distinction we have made between the artist and the tradesman? How are we to recover for the artist the virtues of the craftsman and for the craftsman the virtues of the artist ? At present we get from neither what we really like. Art remains to us a painful mystery; most of us would define it, if we were honest, as that which human beings buy because they do not like it. While, as for objects of use, they are bought mainly because they are sold; they are forced upon us as a conjurer forces a card. We think we like them while they remain the fashion; but soon they are like women's clothes of two years ago, if they last