from these two ends of his material the more you make national Art impossible.
I will give you an instance, quite away from sweated labour conditions, where you will see at once how wasteful and opposed to Art is this system of breaking up craftsmanship into departments. It was an architect who told me that the following system is quite frequently followed in dealing with the stone out of which we build the outside walls of our modern churches. It is hewn at the quarries into a rough surface, thoroughly expressive of the stonemason's craft, and not in any way too rough for its purpose. It is then taken and submitted by machinery to a grinding process which makes it mechanically smooth, and it is then handed over to other workmen who give back to it a chiselled surface of an absolutely uniform and mechanical character which expresses nothing. And with that wanton and wasteful lie we are content to set up temples to the God of Truth!
Now if the Church has become so blind to the values of life, and so lacking in any standard of honour toward the labour of men's hands, as to allow itself to be so clothed in falsehood, yet I do still plead that those who call themselves artists shall protest by all means in their power against the systematisation of such indignities toward handicraft. That is the sort of thing against which any national Art training we have ought to fight.
How can we fight? Best of all, I believe,
