on a while; but its life was so feeble, and, so to say, illogical, that it could not resist any change in external circumstances, still less could it give birth to anything new; and before this century began, its last flicker had died out. Still, while it was living, in whatever dotage, it did imply something going on in those matters of daily use that we have been thinking of, and doubtless satisfied some cravings for beauty: and when it was dead, for a long time people did not know it, or what had taken its place, crept so to say into its dead body--that pretence of art, to wit, which is done with machines, though sometimes the machines are called men, and doubtless are so out of working hours: nevertheless long before it was quite dead it had fallen so low that the whole subject was usually treated with the utmost contempt by every one who had any pretence of being a sensible man, and in short the whole civilised world had forgotten that there had ever been an art MADE BY THE PEOPLE FOR THE PEOPLE AS A JOY FOR THE MAKER AND THE USER.
But now it seems to me that the very suddenness of the change ought to comfort us, to make us look upon this break in the continuity of the golden chain as an accident only, that itself cannot last: for think how many thousand years it may be since that primeval man graved with a flint splinter on a bone the story of the mammoth he had seen, or told us of the slow uplifting of the heavily-horned heads of the reindeer that he stalked: think I say of the space of time from then till the dimming of the brightness of the Italian Renaissance! whereas from that time till popular art died unnoticed and despised among ourselves is just but two hundred years.
Strange too, that very death is contemporaneous with new-birth of something at all events; for out of all despair sprang a new time of hope lighted by the torch of the French Revolution: and things that have languished with the languishing of art, rose afresh and surely heralded its new birth: in good earnest poetry was born again, and the English Language, which under the hands of sycophantic verse- makers had been reduced to a miserable jargon, whose meaning, if it have a meaning, cannot be made out without translation, flowed clear, pure, and simple, along with the music of Blake and Coleridge: take those names, the earliest in date among ourselves, as a type of the change that has happened in literature since the time of George II.
With that literature in which romance, that is to say humanity, was re-born, there sprang up also a feeling for the romance of external nature, which is surely strong in us now, joined with a longing to know something real of the lives of those who have gone before us; of these feelings united you will find the broadest expression in the pages of Walter Scott: it is curious as showing how sometimes one art will lag behind another in a revival, that the man who wrote the exquisite and wholly unfettered naturalism of the Heart of Midlothian, for instance, thought himself continually bound to seem to feel ashamed of, and to excuse himself for, his love of Gothic Architecture: he felt that it was romantic, and he knew that it gave him pleasure, but somehow he had not found out that it was art, having been taught in many ways that nothing could be art that was not done by a named man under academical rules.
I need not perhaps dwell much on what of change has been since: you know well that one of the master-arts, the art of painting, has been revolutionised. I have a genuine difficulty in speaking to you of men who are my own personal friends, nay my masters: still, since I cannot quite say nothing of them I must say the plain truth, which is this; never in the whole history of art did any set of men come nearer to the feat of making something out of nothing than that little knot of painters who have raised English art from what it was, when as a boy I used to go to the Royal Academy Exhibition, to what it is now.
It would be ungracious indeed for me who have been so much taught by him, that I cannot help feeling continually as I speak that I am echoing his words, to leave out the name of John Ruskin from an account of what has happened since the tide, as we hope, began to turn in the direction of art. True it is, that his unequalled style of English and his wonderful eloquence would, whatever its subject- matter, have gained him some sort of a hearing in a time that has not lost its relish for literature; but surely the influence that he has exercised over cultivated people must be the result of that style and that eloquence expressing what was already stirring in men's minds; he could not have written what he has done unless people were in some sort ready for it; any more than those painters could have begun their crusade against the dulness and incompetency that was the rule in their art thirty years ago unless they had some hope that they would one day move people to understand them.
Well, we find that the gains since the turning-point of the tide are these: that there are some few artists who have, as it were, caught up the golden chain dropped two hundred years ago, and that there are a few highly cultivated people who can understand them; and that beyond these there is a vague feeling abroad among people of the same degree, of discontent at the ignoble ugliness that surrounds them.
That seems to me to mark the advance that we have made since the last of popular art came to an end amongst us, and I do not say, considering where we then were, that it is not a great advance, for it comes to this, that though the battle is still to win, there are those who are ready for the battle.
Indeed it would be a strange shame for this age if it were not so: for as every age of the world has its own troubles to confuse it, and its own follies to cumber it, so has each its own work to do, pointed out to it by unfailing signs of the times; and it is unmanly and stupid for the children of any age to say: We will not set our hands to the work; we did not make the troubles, we will not weary ourselves seeking a remedy for them: so heaping up for their sons a heavier load than they can lift without such struggles as will wound and cripple them sorely. Not thus our fathers served us, who, working late and early, left us at last that seething mass of people so terribly alive and energetic, that we call modern Europe; not thus those served us, who have made for us these present days, so fruitful of change and wondering expectation.
The century that is now beginning to draw to an end, if people were to take to nicknaming centuries, would be called the Century of Commerce; and I do not think I undervalue the work that it has done: it has broken down many a prejudice and taught many a lesson that the world has been hitherto slow to learn: it has made it possible for many a man to live free, who would in other times have been a slave, body or soul, or both: if it has not quite spread peace and justice through the world, as at the end of its first half we fondly hoped it would, it has at least stirred up in many fresh cravings for peace and justice: its work has been good and plenteous, but much of it was roughly done, as needs was; recklessness has commonly gone with its energy, blindness too often with its haste: so that perhaps it may be work enough for the next century to repair the blunders of that recklessness, to clear away the rubbish which that hurried work has piled up; nay even we in the second half of its last quarter may do something towards setting its house in order.
You, of this great and famous town, for instance, which has had so much to do with the Century of Commerce, your gains are obvious to all men, but the price you have paid for them is obvious to many-- surely to yourselves most of all: I do not say that they are not worth the price; I know that England and the world could very ill afford to exchange the Birmingham of to-day for the Birmingham of the year 1700: but surely if what you have gained be more than a mockery, you cannot stop at those gains, or even go on always piling up similar ones. Nothing can make me believe that the present condition of your Black Country yonder is an unchangeable necessity of your life and position: such miseries as this were begun and carried on in pure thoughtlessness, and a hundredth part of the energy that was spent in creating them would get rid of them: I do think if we were not all of us too prone to acquiesce in the base byword 'after me the deluge,' it would soon be something more than an idle dream to hope that your pleasant midland hills and fields might begin to become pleasant again in some way or other, even without depopulating them; or that those once lovely valleys of Yorkshire in the 'heavy woollen district,' with their sweeping hill- sides and noble rivers, should not need the stroke of ruin to make them once more delightful abodes of men, instead of the dog-holes that the Century of Commerce has made them.
Well, people will not take the trouble or spend the money necessary to beginning
