trade conditions and present enormous demand for thoughtless superfluities tend to make that prospect more probable? If not, then instability of trade, or trade directed to the satisfaction of frivolous and ephemeral demands is bad for architecture, and hinders any worthy development in it of national characteristics.
But there, mind you, in trade, lies to-day the very life of the nation; for the life of our teeming millions depends on it. By our industrial specialisation in the pursuit of wealth vast numbers of us have ceased to be self-supporting in the necessaries of life. And the question for artists is, are we basing our national life on conditions that cannot secure permanence and stability in the things which we produce? Is it a necessary condition of our industrial development that things should have a shorter life and we a shorter use for them than in the old days? To the artist the drawback of machine-made things is not necessarily in the mechanism of their production (for in some cases your machine relieves the human hand of a hard and wearing monotony), but there is a very obvious drawback if it imposes upon the worker merely another form of hard and wearing monotony, and at the same time shortens the life of the thing produced. If handicraft does not offer to the worker worthier conditions for hand and brain, and insure longer life in the thing produced, it is no good pinning our faith to it. Eliminate it, and let machinery take its place. You have
