essays and lectures-第23部分

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have　seen　yet　in　America　…　all　this　is　not　enough。　　A　school　of

design　we　must　have　too　in　each　city。　　It　should　be　a　stately　and

noble　building；　full　of　the　best　examples　of　the　best　art　of　the

world。　　Furthermore；　do　not　put　your　designers　in　a　barren

whitewashed　room　and　bid　them　work　in　that　depressing　and

colourless　atmosphere　as　I　have　seen　many　of　the　American　schools

of　design；　but　give　them　beautiful　surroundings。　　Because　you　want

to　produce　a　permanent　canon　and　standard　of　taste　in　your　workman；

he　must　have　always　by　him　and　before　him　specimens　of　the　best

decorative　art　of　the　world；　so　that　you　can　say　to　him：　　'This　is

good　work。　　Greek　or　Italian　or　Japanese　wrought　it　so　many　years

ago；　but　it　is　eternally　young　because　eternally　beautiful。'　　Work

in　this　spirit　and　you　will　be　sure　to　be　right。　　Do　not　copy　it；

but　work　with　the　same　love；　the　same　reverence；　the　same　freedom

of　imagination。　　You　must　teach　him　colour　and　design；　how　all

beautiful　colours　are　graduated　colours　and　glaring　colours　the

essence　of　vulgarity。　　Show　him　the　quality　of　any　beautiful　work

of　nature　like　the　rose；　or　any　beautiful　work　of　art　like　an

Eastern　carpet　…　being　merely　the　exquisite　gradation　of　colour；

one　tone　answering　another　like　the　answering　chords　of　a　symphony。

Teach　him　how　the　true　designer　is　not　he　who　makes　the　design　and

then　colours　it；　but　he　who　designs　in　colour；　creates　in　colour；

thinks　in　colour　too。　　Show　him　how　the　most　gorgeous　stained…glass

windows　of　Europe　are　filled　with　white　glass；　and　the　most

gorgeous　Eastern　tapestry　with　toned　colours　…　the　primary　colours

in　both　places　being　set　in　the　white　glass；　and　the　tone　colours

like　brilliant　jewels　set　in　dusky　gold。　　And　then　as　regards

design；　show　him　how　the　real　designer　will　take　first　any　given

limited　space；　little　disk　of　silver；　it　may　be；　like　a　Greek　coin；

or　wide　expanse　of　fretted　ceiling　or　lordly　wall　as　Tintoret　chose

at　Venice　（it　does　not　matter　which）；　and　to　this　limited　space　…

the　first　condition　of　decoration　being　the　limitation　of　the　size

of　the　material　used　…　he　will　give　the　effect　of　its　being　filled

with　beautiful　decoration；　filled　with　it　as　a　golden　cup　will　be

filled　with　wine；　so　complete　that　you　should　not　be　able　to　take

away　anything　from　it　or　add　anything　to　it。　　For　from　a　good　piece

of　design　you　can　take　away　nothing；　nor　can　you　add　anything　to

it；　each　little　bit　of　design　being　as　absolutely　necessary　and　as

vitally　important　to　the　whole　effect　as　a　note　or　chord　of　music

is　for　a　sonata　of　Beethoven。



But　I　said　the　effect　of　its　being　so　filled；　because　this；　again；

is　of　the　essence　of　good　design。　　With　a　simple　spray　of　leaves

and　a　bird　in　flight　a　Japanese　artist　will　give　you　the　impression

that　he　has　completely　covered　with　lovely　design　the　reed　fan　or

lacquer　cabinet　at　which　he　is　working；　merely　because　he　knows　the

exact　spot　in　which　to　place　them。　　All　good　design　depends　on　the

texture　of　the　utensil　used　and　the　use　you　wish　to　put　it　to。　　One

of　the　first　things　I　saw　in　an　American　school　of　design　was　a

young　lady　painting　a　romantic　moonlight　landscape　on　a　large　round

dish；　and　another　young　lady　covering　a　set　of　dinner　plates　with　a

series　of　sunsets　of　the　most　remarkable　colours。　　Let　your　ladies

paint　moonlight　landscapes　and　sunsets；　but　do　not　let　them　paint

them　on　dinner　plates　or　dishes。　　Let　them　take　canvas　or　paper　for

such　work；　but　not　clay　or　china。　　They　are　merely　painting　the

wrong　subjects　on　the　wrong　material；　that　is　all。　　They　have　not

been　taught　that　every　material　and　texture　has　certain　qualities

of　its　own。　　The　design　suitable　for　one　is　quite　wrong　for　the

other；　just　as　the　design　which　you　should　work　on　a　flat　table…

cover　ought　to　be　quite　different　from　the　design　you　would　work　on

a　curtain；　for　the　one　will　always　be　straight；　the　other　broken

into　folds；　and　the　use　too　one　puts　the　object　to　should　guide　one

in　the　choice　of　design。　　One　does　not　want　to　eat　one's　terrapins

off　a　romantic　moonlight　nor　one's　clams　off　a　harrowing　sunset。

Glory　of　sun　and　moon；　let　them　be　wrought　for　us　by　our　landscape

artist　and　be　on　the　walls　of　the　rooms　we　sit　in　to　remind　us　of

the　undying　beauty　of　the　sunsets　that　fade　and　die；　but　do　not　let

us　eat　our　soup　off　them　and　send　them　down　to　the　kitchen　twice　a

day　to　be　washed　and　scrubbed　by　the　handmaid。



All　these　things　are　simple　enough；　yet　nearly　always　forgotten。

Your　school　of　design　here　will　teach　your　girls　and　your　boys；

your　handicraftsmen　of　the　future　（for　all　your　schools　of　art

should　be　local　schools；　the　schools　of　particular　cities）。　　We

talk　of　the　Italian　school　of　painting；　but　there　is　no　Italian

school；　there　were　the　schools　of　each　city。　　Every　town　in　Italy；

from　Venice　itself；　queen　of　the　sea；　to　the　little　hill　fortress

of　Perugia；　each　had　its　own　school　of　art；　each　different　and　all

beautiful。



So　do　not　mind　what　art　Philadelphia　or　New　York　is　having；　but

make　by　the　hands　of　your　own　citizens　beautiful　art　for　the　joy　of

your　own　citizens；　for　you　have　here　the　primary　elements　of　a

great　artistic　movement。



For；　believe　me；　the　conditions　of　art　are　much　simpler　than　people

imagine。　　For　the　noblest　art　one　requires　a　clear　healthy

atmosphere；　not　polluted　as　the　air　of　our　English　cities　is　by　the

smoke　and　grime　and　horridness　which　comes　from　open　furnace　and

from　factory　chimney。　　You　must　have　strong；　sane；　healthy　physique

among　your　men　and　women。　　Sickly　or　idle　or　melancholy　people　do

not　do　much　in　art。　　And　lastly；　you　require　a　sense　of

individualism　about　each　man　and　woman；　for　this　is　the　essence　of

art　…　a　desire　on　the　part　of　man　to　express　himself　in　the　noblest

way　possible。　　And　this　is　the　reason　that　the　grandest　art　of　the

world　always　came　from　a　republic：　　Athens；　Venice；　and　Florence　…

there　were　no　kings　there　and　so　their　art　was　as　noble　and　simple

as　sincere。　　But　if　you　want　to　know　what　kind　of　art　the　folly　of

kings　will　impose　on　a　country　look　at　the　decorative　art　of　France

under　the　GRAND　MONARQUE；　under　Louis　the　Fourteenth；　the　gaudy

gilt　furniture　writhing　under　a　sense　of　its　own　horror　and

ugliness；　with　a　nymph　smirking　at　every　angle　and　a　dragon

mouthing　on　every　claw。　　Unreal　and　monstrous　art　this；　and　fit

only　for　such　periwigged　pomposities　as　the　nobility　of　France　at

that　time；　but　not　at　all　fit　for　you　or　me。　　We　do　not　want　the

rich　to　possess　more　beautiful　things　but　the　poor　to　create　more

beautiful　things；　for　ever　man　is　poor　who　cannot　create。　　Nor

shall　the　art　which　you　and　I　need　be　merely　a　purple　robe　woven　by

a　slave　and　thrown　over　the　whitened　body　of　some　leprous　king　to

adorn　or　to　conceal　the　sin　of　his　luxury；　but　rather　shall　it　be

the　noble　and　beautiful　expression　of　a　people's　noble　and

beautiful　life。　　Art　shall　be　again　the　most　glorious　of　all　the

chords　through　which　the　spirit　of　a　great　nation　finds　its　noblest

utterance。



All　around　you；　I　said；　lie　the　conditions　for　a　great　artistic

movement　for　every　great　art。　　Let　us　think　of　one　of　them；　a

sculptor；　for　instance。



If　a　modern　sculptor　were　to　come　and　say；　'Very　well；　but　where

can　one　find　subjects　for　sculpture　out　of　men　who　wear　frock…coats

and　chimney…pot　hats？'　I　would　tell　him　to　go　to　the　docks　of　a

great　city　and　watch　the　men　loading　or　unloading　the　stately

ships；　working　at　wheel　or　windlass；　hauling　at　rope　or　gangway。　　I

have　never　watched　a　man　do　anything　useful　who　has　not　been

graceful　at　some　moment　of　his　labour：　　it　is　only　the　loafer　and

the　idle　saunterer　who　is　as　useless　and　uninteresting　to　the

artist　as　he　is　to　himself。　　I　would　ask　the　sculptor　to　go　with　me

to　any　of　your　schools　or　universities；　to　the　running　ground　and

gymnasium；　to　watch　the　young　men　start　for　a　race；　hurling　quoit

or　club；　kneeling　to　tie　their　shoes　before　leaping；　stepping　from

the　boat　or　bending　to　the　oar；　and　to　carve　them；　and　when　he　was

weary　of　cities　I　would　ask　him　to　come　to　your　fields　and　meadows

to　watch　the　reaper　with　his　sickle　and　the　cattle…driver　with

lifted　lasso。　　For　if　a　man　cannot　find　the　noblest　motives　for　his

art　in　such　simple　daily　things　as　a　woman　drawing　water　from　the

well　or　a　man　leaning　with　his　scythe；　he　will　not　find　them

anywhere　at　all。　　Gods　and　goddesses　the　Greek　carved　because　he

loved　them；　saint　and　king　the　Goth　because　he　believed　in　them。

But　you；　you　do　not　care　much　for　Greek　gods　and　goddesses；　and　you

are　perfectly　and　entirely　right；　and　you　do　not　think　much　of

kings　either；　and　you　are　quite　right。　　But　what　you　do　love　are

your　own　men　and　women；　your　own　flowers　and　fields；　your　own　hills

and　mountains；　and　these　are　what　your　art　should　represent　to　you。



Ours　has　been　the　first　movement　which　has　brought　the

handicraftsman　and　the　artist　together；　for　remember　that　by

separating　the　one　from　the　other　you　do　ruin　to　both；　you　rob　the

one　of　all　spiritual　motive　and　all　imaginative　joy；　you　isolate

the　other　from　all　real　technical　perfection。　　The　two　greatest

schools　of　art　in　the　world；　the　sculptor　at　Athens　and　the　school

of　painting　at　Venice；　had　their　origin　entirely　in　a　long

succession　of　simple　and　earnest　handicraftsmen。　　It　was　the　Greek

potter　who　taught　the　sculptor　that　restraining　influence　of　design

which　was　the　glory　of　the　Parthenon；　it　was　the　Italian　decorator

of　chests　and　household　goods　who　kept　Venetian　painting　always

true　to　its　primary　pictorial　condition　of　noble　colour。　　For　we

should　remember　that　all　the　arts　are　fine　arts　and　all　the　arts

decorative　arts。　　The　greatest　triumph　of　Italian　painting　was　the

decoration　of　a　pope's　chapel　in　Rome　and　the　wall　of　a　room　in

Venice。　　Michael　Angelo　wrought　the　one；　and　Tintoret；　the　dyer's

son；　the　other。　　And　t