on such a colossal scale, of the labour of men's hands. And the more it is revealed to us to-day (by the present catastrophe) as an absolute political necessity, the more is the disorder of civilization we have arrived at condemned.
Well, I must leave now, in that example I have set before you, the wasteful aspect of modern industry, in order to touch briefly on another, and an almost equally hateful aspect, which I will call "the vivisection of modern industry." I mean its subdivision into so many separate departments, or rather fragments, that it loses for the mind of the worker all relation to the thing made—that time-saving device at the expense of the human hand and brain, which we glorify under the term "specialisation." Now, however much you may defend that system on ground of trade competition, the artist is bound by his principles to regard it as a national evil; for anything which tends to take away the worker's joy and pride in the distinctiveness of his trade and to undo its human elements is anti-Art training. And so that inhuman specialisation which (for the sake of trade cheapness) sets down a man to the performance of one particular mechanical action all his life, in the making of some one particular part of some article which in its further stages he is never to handle, or a woman to stamp out the tin skeleton of a button, with her eyes glued to one spot for ten hours of the day—all these dehumanising things are anti-Art
