In considering the Aims of Art, that is, why men toilsomely cherish and practise Art, I find myself compelled to generalize from the only specimen of humanity of which I know anything; to wit, myself. Now, when I think of what it is that I desire, I find that I can give it no other name than happiness. I want to be happy while I live; for as for death, I find that, never having experienced it, I have no conception of what it means, and so cannot even bring my mind to bear upon it. I know what it is to live; I cannot even guess what it is to be dead. Well, then, I want to be happy, and even sometimes, say generally, to be merry; and I find it difficult to believe that that is not the universal desire: so that, whatever tends towards that end I cherish with all my best endeavour. Now, when I consider my life further, I find out, or seem to, that it is under the influence of two dominating moods, which for lack of better words I must call the mood of energy and the mood of idleness: these two moods are now one, now the other, always crying out in me to be satisfied. When the mood of energy is upon me, I must be doing something, or I become mopish and unhappy; when the mood of idleness is on me, I find it hard indeed if I cannot rest and let my mind wander over the various pictures, pleasant or terrible, which my own experience or my communing with the thoughts of other men, dead or alive, have fashioned in it; and if circumstances will not allow me to cultivate this mood of idleness, I find I must at the best pass through a period of pain till I can manage to stimulate my mood of energy to take its place and make me happy again. And if I have no means wherewith to rouse up that mood of energy to do its duty in making me happy, and I have to toil while the idle mood is upon me, then am I unhappy indeed, and almost wish myself dead, though I do not know what that means.

Furthermore, I find that while in the mood of idleness memory amuses me, in the mood of energy hope cheers me; which hope is sometimes big and serious, and sometimes trivial, but that without it there is no happy energy. Again, I find that while I can sometimes satisfy this mood by merely exercising it in work that has no result beyond the passing hour—in play, in short—yet that it presently wearies of that and gets languid, the hope therein being too trivial, and sometimes even scarcely real; and that on the whole, to satisfy my master the mood, I must either be making something or making believe to make it.

Well, I believe that all men’s lives are compounded of these two moods in various proportions, and that this explains why they have always, with more or less of toil, cherished and practised art.

Why should they have touched it else, and so added to the labour which they could not choose but do in order to live? It must have been done for their pleasure, since it has only been in very elaborate civilizations that a man could get other men to keep him alive merely to produce works of art, whereas all men that have left any signs of their existence behind them have practised art.

I suppose, indeed, that nobody will be inclined to deny that the end proposed by a work of art is always to please the person whose senses are to be made conscious of it. It was done for some one who was to be made happier by it; his idle or restful mood was to be amused by it, so that the vacancy which is the besetting evil of that mood might give place to pleased contemplation, dreaming, or what you will; and by this means he would not so soon be driven into his workful or energetic mood: he would have more enjoyment, and better.

The restraining of restlessness, therefore, is clearly one of the essential aims of art, and few things could add to the pleasure of life more than this. There are, to my knowledge, gifted people now alive who have no other vice than this of restlessness, and seemingly no other curse in their lives to make them unhappy: but that is enough; it is “the little rift within the lute.” Restlessness makes them hapless men and bad citizens.

But granting, as I suppose you all will do, that this is a most important function for art to fulfil, the question next comes, at what price do we obtain it? I have admitted that the practice of art has added to the labour of mankind, though I believe in the long run it will not do so; but in adding to the labour of man has it added, so far, to his pain? There always have been people who would at once say yes to that question; so that there have been and are two sets of people who dislike and contemn art as an embarrassing folly. Besides the pious ascetics, who look upon it as a worldly entanglement which prevents men from keeping their minds fixed on the chances of their individual happiness or misery in the next world; who, in short, hate art, because they think that it adds to man’s earthly happiness—besides these, there are also people who, looking on the struggle of life from the most reasonable point that they know of, contemn the arts because they think that they add to man’s slavery by increasing the sum of his painful labour: if this were the case, it would still, to my mind, be a question whether it might not be worth the while to endure the extra pain of labour for the sake of the extra pleasure added to rest; assuming, for the present, equality of condition among men. But it seems to me that it is not the case that the practice of art adds to painful labour; nay more, I believe that, if it did, art would never have arisen at all, would certainly not be discernible, as it is, among peoples in whom only the germs of civilization exist. In other words, I believe that art cannot be the result of external compulsion; the labour which goes to produce it is voluntary, and partly undertaken for the sake of the labour itself, partly for the sake of the hope of producing something which, when done, shall give pleasure to the user of it. Or, again, this extra labour, when it is extra, is undertaken with the aim of satisfying that mood of energy by employing it to produce something worth doing, and which, therefore, will keep before the worker a lively hope while he is working; and also by giving it work to do in which there is absolute immediate pleasure. Perhaps it is difficult to explain to the non-artistic capacity that this definite sensuous pleasure is always present in the handiwork of the deft workman when he is working successfully, and that it increases in proportion to the freedom and individuality of the work. Also you must understand that this production of art, and consequent pleasure in work, is not confined to the production of matters which are works of art only, like pictures, statues, and so forth, but has been and should be a part of all labour in some form or other: so only will the claims of the mood of energy be satisfied.

Therefore the Aim of Art is to increase the happiness of men, by giving them beauty and interest of incident to amuse their leisure, and prevent them wearying even of rest, and by giving them hope and bodily pleasure in their work; or, shortly, to make man’s work happy and his rest fruitful. Consequently, genuine art is an unmixed blessing to the race of man.

But as the word “genuine” is a large qualification, I must ask leave to attempt to draw some practical conclusions from this assertion of the Aims of Art, which will, I suppose, or indeed hope, lead us into some controversy on the subject; because it is futile indeed to expect any one to speak about art, except in the most superficial way, without encountering those social problems which all serious men are thinking of; since art is and must be, either in its abundance or its barrenness, in its sincerity or its hollowness, the expression of the society amongst which it exists.

First, then, it is clear to me that, at the present time, those who look widest at things and deepest into them are quite dissatisfied with the present state of the arts, as they are also with the present condition of society. This I say in the teeth of the supposed revivification of art which has taken place of late years: in fact, that very excitement about the arts amongst a part of the cultivated people of to-day does but show on how firm a basis the dissatisfaction above mentioned rests. Forty years ago there was much less talk about art, much less practice of it, than there is now; and that is specially true of the architectural arts, which I shall mostly have to speak about now. People have consciously striven to raise the dead in art since that time, and with some superficial success. Nevertheless, in spite of this conscious effort, I must tell you that England, to a person who can feel and understand beauty, was a less grievous place to live in then than it is now; and we who feel what art means know well, though we do not often dare to say so, that forty years hence it will be a more grievous place to us than it is now if we still follow up the road we are on. Less than forty years ago—about thirty—I first saw the city of Rouen, then still in its outward aspect a piece of the Middle Ages: no words can tell you how its mingled beauty, history, and romance took hold on me; I can only say that, looking back on my past life, I find it was the greatest pleasure I have ever had: and now it is a pleasure which no one can ever have again: it is lost to the world for ever. At that time I was an undergraduate of Oxford. Though not so astounding, so romantic, or at first sight so mediÆval as the Norman city, Oxford in those days still kept a great deal of its earlier loveliness: and the memory of its grey streets as they then were has been an abiding influence and pleasure in my life, and would be greater still if I could only forget what they are now—a matter of far more importance than the so-called learning of the place could have been to me in any case, but which, as it was, no one tried to teach me, and I did not try to learn. Since then the guardians of this beauty and romance so fertile of education, though professedly engaged in “the higher education” (as the futile system of compromises which they follow is nick-named), have ignored it utterly, have made its preservation give way to the pressure of commercial exigencies, and are determined apparently to destroy it altogether. There is another pleasure for the world gone down the wind; here, again, the beauty and romance have been uselessly, causelessly, most foolishly thrown away.

These two cases are given simply because they have been fixed in my mind; they are but types of what is going on everywhere throughout civilization: the world is everywhere growing uglier and more commonplace, in spite of the conscious and very strenuous efforts of a small group of people towards the revival of art, which are so obviously out of joint with the tendency of the age that, while the uncultivated have not even heard of them, the mass of the cultivated look upon them as a joke, and even that they are now beginning to get tired of.

Now, if it be true, as I have asserted, that genuine art is an unmixed blessing to the world, this is a serious matter; for at first sight it seems to show that there will soon be no art at all in the world, which will thus lose an unmixed blessing; it can ill afford to do that, I think.

For art, if it has to die, has worn itself out, and its aim will be a thing forgotten; and its aim was to make work happy and rest fruitful. Is all work to be unhappy, all rest unfruitful, then? Indeed, if art is to perish, that will be the case, unless something is to take its place—something at present unnamed, undreamed of.

I do not think that anything will take the place of art; not that I doubt the ingenuity of man, which seems to be boundless in the direction of making himself unhappy, but because I believe the springs of art in the human mind to be deathless, and also because it seems to me easy to see the causes of the present obliteration of the arts.

For we civilized people have not given them up consciously, or of our free will; we have been forced to give them up. Perhaps I can illustrate that by the detail of the application of machinery to the production of things in which artistic form of some sort is possible. Why does a reasonable man use a machine? Surely to save his labour. There are some things which a machine can do as well as a man’s hand, plus a tool, can do them. He need not, for instance, grind his corn in a hand-quern; a little trickle of water, a wheel, and a few simple contrivances will do it all perfectly well, and leave him free to smoke his pipe and think, or to carve the handle of his knife. That, so far, is unmixed gain in the use of a machine—always, mind you, supposing equality of condition among men; no art is lost, leisure or time for more pleasurable work is gained. Perhaps a perfectly reasonable and free man would stop there in his dealings with machinery; but such reason and freedom are too much to expect, so let us follow our machine-inventor a step farther. He has to weave plain cloth, and finds doing so dullish on the one hand, and on the other that a power-loom will weave the cloth nearly as well as a hand-loom: so, in order to gain more leisure or time for more pleasurable work, he uses a power-loom, and foregoes the small advantage of the little extra art in the cloth. But so doing, as far as the art is concerned, he has not got a pure gain; he has made a bargain between art and labour, and got a makeshift as a consequence. I do not say that he may not be right in so doing, but that he has lost as well as gained. Now, this is as far as a man who values art and is reasonable would go in the matter of machinery as long as he was free—that is, was not forced to work for another man’s profit; so long as he was living in a society that had accepted equality of condition. Carry the machine used for art a step farther, and he becomes an unreasonable man, if he values art and is free. To avoid misunderstanding, I must say that I am thinking of the modern machine, which is as it were alive, and to which the man is auxiliary, and not of the old machine, the improved tool, which is auxiliary to the man, and only works as long as his hand is thinking; though I will remark, that even this elementary form of machine has to be dropped when we come to the higher and more intricate forms of art. Well, as to the machine proper used for art, when it gets to the stage above dealing with a necessary production that has accidentally some beauty about it, a reasonable man with a feeling for art will only use it when he is forced to. If he thinks he would like ornament, for instance, and knows that the machine cannot do it properly, and does not care to spend the time to do it properly, why should he do it at all? He will not diminish his leisure for the sake of making something he does not want unless some man or band of men force him to it; so he will either go without the ornament, or sacrifice some of his leisure to have it genuine. That will be a sign that he wants it very much, and that it will be worth his trouble: in which case, again, his labour on it will not be mere trouble, but will interest and please him by satisfying the needs of his mood of energy.

This, I say, is how a reasonable man would act if he were free from man’s compulsion; not being free, he acts very differently. He has long passed the stage at which machines are only used for doing work repulsive to an average man, or for doing what could be as well done by a machine as a man, and he instinctively expects a machine to be invented whenever any product of industry becomes sought after. He is the slave to machinery; the new machine must be invented, and when invented he must—I will not say use it, but be used by it, whether he likes it or not.

But why is he the slave to machinery? Because he is the slave to the system for whose existence the invention of machinery was necessary.

And now I must drop, or rather have dropped, the assumption of the equality of condition, and remind you that, though in a sense we are all the slaves of machinery, yet that some men are so directly without any metaphor at all, and that these are just those on whom the great body of the arts depends—the workmen. It is necessary for the system which keeps them in their position as an inferior class that they should either be themselves machines or be the servants to machines, in no case having any interest in the work which they turn out. To their employers they are, so far as they are workmen, a part of the machinery of the workshop or the factory; to themselves they are proletarians, human beings working to live that they may live to work: their part of craftsmen, of makers of things by their own free will, is played out.

At the risk of being accused of sentimentality, I will say that since this is so, since the work which produces the things that should be matters of art is but a burden and a slavery, I exult in this at least, that it cannot produce art; that all it can do lies between stark utilitarianism and idiotic sham.

Or indeed is that merely sentimental? Rather, I think, we who have learned to see the connection between industrial slavery and the degradation of the arts have learned also to hope for a future for those arts; since the day will certainly come when men will shake off the yoke, and refuse to accept the mere artificial compulsion of the gambling market to waste their lives in ceaseless and hopeless toil; and when it does come, their instincts for beauty and imagination set free along with them, will produce such art as they need; and who can say that it will not as far surpass the art of past ages as that does the poor relics of it left us by the age of commerce?

A word or two on an objection which has often been made to me when I have been talking on this subject. It may be said, and is often, You regret the art of the Middle Ages (as indeed I do), but those who produced it were not free; they were serfs, or gild-craftsmen surrounded by brazen walls of trade restrictions; they had no political rights, and were exploited by their masters, the noble caste, most grievously. Well, I quite admit that the oppression and violence of the Middle Ages had its effect on the art of those days, its shortcomings are traceable to them; they repressed art in certain directions, I do not doubt that; and for that reason I say, that when we shake off the present oppression as we shook off the old, we may expect the art of the days of real freedom to rise above that of those old violent days. But I do say that it was possible then to have social, organic, hopeful progressive art; whereas now such poor scraps of it as are left are the result of individual and wasteful struggle, are retrospective and pessimistic. And this hopeful art was possible amidst all the oppression of those days, because the instruments of that oppression were grossly obvious, and were external to the work of the craftsman. They were laws and customs obviously intended to rob him, and open violence of the highway-robbery kind. In short, industrial production was not the instrument used for robbing the “lower classes;” it is now the main instrument used in that honourable profession. The mediÆval craftsman was free in his work, therefore he made it as amusing to himself as he could; and it was his pleasure and not his pain that made all things beautiful that were made, and lavished treasures of human hope and thought on everything that man made, from a cathedral to a porridge-pot. Come, let us put it in the way least respectful to the mediÆval craftsman, most polite to the modern “hand:” the poor devil of the fourteenth century, his work was of so little value that he was allowed to waste it by the hour in pleasing himself—and others; but our highly-strung mechanic, his minutes are too rich with the burden of perpetual profit for him to be allowed to waste one of them on art; the present system will not allow him—cannot allow him—to produce works of art.

So that there has arisen this strange phenomenon, that there is now a class of ladies and gentlemen, very refined indeed, though not perhaps as well informed as is generally supposed, and of this refined class there are many who do really love beauty and incident—i.e., art, and would make sacrifices to get it; and these are led by artists of great manual skill and high intellect, forming altogether a large body of demand for the article. And yet the supply does not come. Yes, and moreover, this great body of enthusiastic demanders are no mere poor and helpless people, ignorant fisher-peasants, half-mad monks, scatter-brained sansculottes—none of those, in short, the expression of whose needs has shaken the world so often before, and will do yet again. No, they are of the ruling classes, the masters of men, who can live without labour, and have abundant leisure to scheme out the fulfilment of their desires; and yet I say they cannot have the art which they so much long for, though they hunt it about the world so hard, sentimentalizing the sordid lives of the miserable peasants of Italy and the starving proletarians of her towns, now that all the picturesqueness has departed from the poor devils of our own country-side, and of our own slums. Indeed, there is little of reality left them anywhere, and that little is fast fading away before the needs of the manufacturer and his ragged regiment of workers, and before the enthusiasm of the archÆological restorer of the dead past. Soon there will be nothing left except the lying dreams of history, the miserable wreckage of our museums and picture-galleries, and the carefully guarded interiors of our Æsthetic drawing-rooms, unreal and foolish, fitting witnesses of the life of corruption that goes on there, so pinched and meagre and cowardly, with its concealment and ignoring, rather than restraint of, natural longings; which does not forbid the greedy indulgence in them if it can but be decently hidden.

The art then is gone, and can no more be “restored” on its old lines than a mediÆval building can be. The rich and refined cannot have it though they would, and though we will believe many of them would. And why? Because those who could give it to the rich are not allowed by the rich to do so. In one word, slavery lies between us and art.

I have said as much as that the aim of art was to destroy the curse of labour by making work the pleasurable satisfaction of our impulse towards energy, and giving to that energy hope of producing something worth its exercise.

Now, therefore, I say, that since we cannot have art by striving after its mere superficial manifestation, since we can have nothing but its sham by so doing, there yet remains for us to see how it would be if we let the shadow take care of itself and try, if we can, to lay hold of the substance. For my part I believe, that if we try to realize the aims of art without much troubling ourselves what the aspect of the art itself shall be, we shall find we shall have what we want at last: whether it is to be called art or not, it will at least be life; and, after all, that is what we want. It may lead us into new splendours and beauties of visible art; to architecture with manifolded magnificence free from the curious incompleteness and failings of that which the older times have produced—to painting, uniting to the beauty which mediÆval art attained the realism which modern art aims at; to sculpture, uniting the beauty of the Greek and the expression of the Renaissance with some third quality yet undiscovered, so as to give us the images of men and women splendidly alive, yet not disqualified from making, as all true sculpture should, architectural ornament. All this it may do; or, on the other hand, it may lead us into the desert, and art may seem to be dead amidst us; or feebly and uncertainly to be struggling in a world which has utterly forgotten its old glories.

For my part, with art as it now is, I cannot bring myself to think that it much matters which of these dooms awaits it, so long as each bears with it some hope of what is to come; since here, as in other matters, there is no hope save in Revolution. The old art is no longer fertile, no longer yields us anything save elegantly poetical regrets; being barren, it has but to die, and the matter of moment now is, as to how it shall die, whether with hope or without it.

What is it, for instance, that has destroyed the Rouen, the Oxford of my elegant poetic regret? Has it perished for the benefit of the people, either slowly yielding to the growth of intelligent change and new happiness? or has it been, as it were, thunderstricken by the tragedy which mostly accompanies some great new birth? Not so. Neither phalangstere nor dynamite has swept its beauty away, its destroyers have not been either the philanthropist or the Socialist, the co-operator or the anarchist. It has been sold, and at a cheap price indeed: muddled away by the greed and incompetence of fools who do not know what life and pleasure mean, who will neither take them themselves nor let others have them. That is why the death of that beauty wounds us so: no man of sense or feeling would dare to regret such losses if they had been paid for by new life and happiness for the people. But there is the people still as it was before, still facing for its part the monster who destroyed all that beauty, and whose name is Commercial Profit.

I repeat, that every scrap of genuine art will fall by the same hands if the matter only goes on long enough, although a sham art may be left in its place, which may very well be carried on by dilettanti fine gentlemen and ladies without any help from below; and, to speak plainly, I fear that this gibbering ghost of the real thing would satisfy a great many of those who now think themselves lovers of art; though it is not difficult to see a long vista of its degradation till it shall become at last a mere laughing-stock; that is to say, if the thing were to go on: I mean, if art were to be for ever the amusement of those whom we now call ladies and gentlemen.

But for my part I do not think it will go on long enough to reach such depths as that; and yet I should be hypocritical if I were to say that I thought that the change in the basis of society, which would enfranchise labour and make men practically equal in condition, would lead us by a short road to the splendid new birth of art which I have mentioned, though I feel quite certain that it would not leave what we now call art untouched, since the aims of that revolution do include the aims of art—viz., abolishing the curse of labour.

I suppose that this is what is likely to happen; that machinery will go on developing, with the purpose of saving men labour, till the mass of the people attain real leisure enough to be able to appreciate the pleasure of life; till, in fact, they have attained such mastery over Nature that they no longer fear starvation as a penalty for not working more than enough. When they get to that point they will doubtless turn themselves and begin to find out what it is that they really want to do. They would soon find out that the less work they did (the less work unaccompanied by art, I mean), the more desirable a dwelling-place the earth would be; they would accordingly do less and less work, till the mood of energy, of which I began by speaking, urged them on afresh: but by that time Nature, relieved by the relaxation of man’s work, would be recovering her ancient beauty, and be teaching men the old story of art. And as the Artificial Famine, caused by men working for the profit of a master, and which we now look upon as a matter of course, would have long disappeared, they would be free to do as they chose, and they would set aside their machines in all cases where the work seemed pleasant or desirable for handiwork; till in all crafts where production of beauty was required, the most direct communication between a man’s hand and his brain would be sought for. And there would be many occupations also, as the processes of agriculture, in which the voluntary exercise of energy would be thought so delightful, that people would not dream of handing over its pleasure to the jaws of a machine.

In short, men will find out that the men of our days were wrong in first multiplying their needs, and then trying, each man of them, to evade all participation in the means and processes whereby those needs are satisfied; that this kind of division of labour is really only a new and wilful form of arrogant and slothful ignorance, far more injurious to the happiness and contentment of life than the ignorance of the processes of Nature, of what we sometimes call science, which men of the earlier days unwittingly lived in.

They will discover, or rediscover rather, that the true secret of happiness lies in the taking a genuine interest in all the details of daily life, in elevating them by art instead of handing the performance of them over to unregarded drudges, and ignoring them; and that in cases where it was impossible either so to elevate them and make them interesting, or to lighten them by the use of machinery, so as to make the labour of them trifling, that should be taken as a token that the supposed advantages gained by them were not worth the trouble and had better be given up. All this to my mind would be the outcome of men throwing off the burden of Artificial Famine, supposing, as I cannot help supposing, that the impulses which have from the first glimmerings of history urged men on to the practice of Art were still at work in them.

Thus and thus only can come about the new birth of Art, and I think it will come about thus. You may say it is a long process, and so it is; but I can conceive of a longer. I have given you the Socialist or Optimist view of the matter. Now for the Pessimist view.

I can conceive that the revolt against Artificial Famine or Capitalism, which is now on foot, may be vanquished. The result will be that the working class—the slaves of society—will become more and more degraded; that they will not strive against overwhelming force, but, stimulated by that love of life which Nature, always anxious about the perpetuation of the race, has implanted in us, will learn to bear everything—starvation, overwork, dirt, ignorance, brutality. All these things they will bear, as, alas! they bear them too well even now; all this rather than risk sweet life and bitter livelihood, and all sparks of hope and manliness will die out of them.

Nor will their masters be much better off: the earth’s surface will be hideous everywhere, save in the uninhabitable desert; Art will utterly perish, as in the manual arts so in literature, which will become, as it is indeed speedily becoming, a mere string of orderly and calculated ineptitudes and passionless ingenuities; Science will grow more and more one-sided, more incomplete, more wordy and useless, till at last she will pile herself up into such a mass of superstition, that beside it the theologies of old time will seem mere reason and enlightenment. All will get lower and lower, till the heroic struggles of the past to realize hope from year to year, from century to century, will be utterly forgotten, and man will be an indescribable being—hopeless, desireless, lifeless.

And will there be deliverance from this even? Maybe: man may, after some terrible cataclysm, learn to strive towards a healthy animalism, may grow from a tolerable animal into a savage, from a savage into a barbarian, and so on; and some thousands of years hence he may be beginning once more those arts which we have now lost, and be carving interlacements like the New Zealanders, or scratching forms of animals on their cleaned blade-bones, like the pre-historic men of the drift.

But in any case, according to the pessimist view, which looks upon revolt against Artificial Famine as impossible to succeed, we shall wearily trudge the circle again, until some accident, some unforeseen consequence of arrangement, makes an end of us altogether.

That pessimism I do not believe in, nor, on the other hand, do I suppose that it is altogether a matter of our wills as to whether we shall further human progress or human degradation; yet, since there are those who are impelled towards the Socialist or Optimistic side of things, I must conclude that there is some hope of its prevailing, that the strenuous efforts of many individuals imply a force which is thrusting them on. So that I believe that the “Aims of Art” will be realized, though I know that they cannot be, so long as we groan under the tyranny of Artificial Famine. Once again I warn you against supposing, you who may specially love art, that you will do any good by attempting to revivify art by dealing with its dead exterior. I say it is the aims of art that you must seek rather than the art itself; and in that search we may find ourselves in a world blank and bare, as the result of our caring at least this much for art, that we will not endure the shams of it.

Anyhow, I ask you to think with me that the worst which can happen to us is to endure tamely the evils that we see; that no trouble or turmoil is so bad as that; that the necessary destruction which reconstruction bears with it must be taken calmly; that everywhere—in State, in Church, in the household—we must be resolute to endure no tyranny, accept no lie, quail before no fear, although they may come before us disguised as piety, duty, or affection, as useful opportunity and good-nature, as prudence or kindness. The world’s roughness, falseness, and injustice will bring about their natural consequences, and we and our lives are part of those consequences; but since we inherit also the consequences of old resistance to those curses, let us each look to it to have our fair share of that inheritance also, which, if nothing else come of it, will at least bring to us courage and hope; that is, eager life while we live, which is above all things the Aim of Art.