I suppose, allows this latter misery to happen; and the workmen who do purely mechanical work do as a rule become mere machines as far as their work is concerned. Now as I am quite sure that no art, not even the feeblest, rudest, or least intelligent, can come of such work, so also I am sure that such work makes the workman less than a man and degrades him grievously and unjustly, and that nothing can compensate him or us for such degradation: and I want you specially to note that this was instinctively felt in the very earliest days of what are called the industrial arts.
When a man turned the wheel, or threw the shuttle, or hammered the iron, he was expected to make something more than a water-pot, a cloth, or a knife: he was expected to make a work of art also: he could scarcely altogether fail in this, he might attain to making a work of the greatest beauty: this was felt to be positively necessary to the peace of mind both of the maker and the user; and this is it which I have called Architecture: the turning of necessary articles of daily use into works of art.
Certainly, when we come to think of it thus, there does seem to be little less than that immeasurable contrast above mentioned between such work and mechanical work: and most assuredly do I believe that the crafts which fashion our familiar wares need this enlightenment of happiness no less now than they did in the days of the early Pharaohs: but we have forgotten this necessity, and in consequence have reduced handicraft to such degradation, that a learned, thoughtful, and humane man can set forth as an axiom that no man will work except to earn leisure thereby.
But now let us forget any conventional ways of looking at the labour which produces the matters of our daily life, which ways come partly from the wretched state of the arts in modern times, and partly I suppose from that repulsion to handicraft which seems to have beset some minds in all ages: let us forget this, and try to think how it really fares with the divers ways of work in handicrafts.
I think one may divide the work with which Architecture is conversant into three classes: first there is the purely mechanical: those who do this are machines only, and the less they think of what they are doing the better for the purpose, supposing they are properly drilled: the purpose of this work, to speak plainly, is not the making of wares of any kind, but what on the one hand is called employment, on the other what is called money-making: that is to say, in other words, the multiplication of the species of the mechanical workman, and the increase of the riches of the man who sets him to work, called in our modern jargon by a strange perversion of language, a manufacturer: {13} Let us call this kind of work Mechanical Toil.
The second kind is more or less mechanical as the case may be; but it can always be done better or worse: if it is to be well done, it claims attention from the workman, and he must leave on it signs of his individuality: there will be more or less of art in it, over which the workman has at least some control; and he will work on it partly to earn his bread in not too toilsome or disgusting a way, but in a way which makes even his work-hours pass pleasantly to him, and partly to make wares, which when made will be a distinct gain to the world; things that will be praised and delighted in. This work I would call Intelligent Work.
The third kind of work has but little if anything mechanical about it; it is altogether individual; that is to say, that what any man does by means of it could never have been done by any other man. Properly speaking, this work is all pleasure: true, there are pains and perplexities and weariness in it, but they are like the troubles of a beautiful life; the dark places that make the bright ones brighter: they are the romance of the work and do but elevate the workman, not depress him: I would call this Imaginative Work.
Now I can fancy that at first sight it may seem to you as if there were more difference between this last and Intelligent Work, than between Intelligent Work and Mechanical Toil: but 'tis not so. The difference between these two is the difference between light and darkness, between Ormuzd and Ahriman: whereas the difference between Intelligent work and what for want of a better word I am calling Imaginative work, is a matter of degree only; and in times when art is abundant and noble there is no break in the chain from the humblest of the lower to the greatest of the higher class; from the poor weaver's who chuckles as the bright colour comes round again, to the great painter anxious and doubtful if he can give to the world the whole of his thought or only nine-tenths of it, they are all artists--that is men; while the mechanical workman, who does not note the difference between bright and dull in his colours, but only knows them by numbers, is, while he is at his work, no man, but a machine. Indeed when Intelligent work coexists with Imaginative, there is no hard and fast line between them; in the very best and happiest times of art, there is scarce any Intelligent work which is not Imaginative also; and there is but little of effort or doubt, or sign of unexpressed desires even in the highest of the Imaginative work: the blessing of Equality elevates the lesser, and calms the greater, art.
Now further, Mechanical Toil is bred of that hurry and thoughtfulness of civilisation of which, as aforesaid, the middle classes of this country have been such powerful furtherers: on the face of it it is hostile to civilisation, a curse that civilisation has made for itself and can no longer think of abolishing or controlling: such it seems, I say; but since it bears with it change and tremendous change, it may well be that there is something more than mere loss in it: it will full surely destroy art as we know art, unless art newborn destroy it: yet belike at the worst it will destroy other things beside which are the poison of art, and in the long run itself also, and thus make way for the new art, of whose form we know nothing.
Intelligent work is the child of struggling, hopeful, progressive civilisation: and its office is to add fresh interest to simple and uneventful lives, to soothe discontent with innocent pleasure fertile of deeds gainful to mankind; to bless the many toiling millions with hope daily recurring, and which it will by no means disappoint.
Imaginative work is the very blossom of civilisation triumphant and hopeful; it would fain lead men to aspire towards perfection: each hope that it fulfils gives birth to yet another hope: it bears in its bosom the worth and the meaning of life and the counsel to strive to understand everything; to fear nothing and to hate nothing: in a word, 'tis the symbol and sacrament of the Courage of the World.
Now thus it stands to-day with these three kinds of work; Mechanical Toil has swallowed Intelligent Work and all the lower part of Imaginative Work, and the enormous mass of the very worst now confronts the slender but still bright array of the very best: what is left of art is rallied to its citadel of the highest intellectual art, and stands at bay there.
At first sight its hope of victory is slender indeed: yet to us now living it seems as if man had not yet lost all that part of his soul which longs for beauty: nay we cannot but hope that it is not yet dying. If we are not deceived in that hope, if the art of to-day has really come alive out of the slough of despond which we call the eighteenth century, it will surely grow and gather strength and draw to it other forms of intellect and hope that now scarcely know it; and then, whatever changes it may go through, it will at the last be victorious, and bring abundant content to mankind. On the other hand, if, as some think, it be but the reflection and feeble ghost of that glorious autumn which ended the good days of the mighty art of the Middle Ages, it will take but little killing: Mechanical Toil will sweep over all the handiwork of man, and art will be gone.
I myself am too busy a man to trouble myself much as to what may happen after that: I can only say that if you do not like the thought of that dull blank, even if you know or care little for art, do not cast the thought of it aside, but think of it again and again, and cherish the trouble it breeds till such a future seems unendurable to you; and then make up your minds that you will not bear it; and even if you distrust the artists that now are, set yourself to clear the way for the artists that are to come. We shall not count you among our enemies then, however hardly you deal with us.
I have spoken of one most important part of that task; I have prayed you to set yourselves earnestly to protecting what is left, and recovering what is lost of the Natural Fairness of the
