Struggle," and written on the 9th of November, ran as follows:
"May I be allowed to say a word in supplement to your paragraph about my opinion on the future of the fine arts? You rather imply that I am a pessimist on this matter. This is not the case; but I am anxious that there should be no illusions as to the future of art. I do not believe in the possibility of keeping art vigorously alive by the action, however energetic, of a few groups of specially gifted men and their small circle of admirers amidst a general public incapable of understanding and enjoying their work. I hold firmly to the opinion that all worthy schools of art must be in the future, as they have been in the past, the outcome of the aspirations of the people towards the beauty and true pleasure of life. And further, that now that democracy is building up a new order, which is slowly emerging from the confusion of the commercial period, these aspirations of the people towards beauty can only be born from a condition of practical equality of economical condition amongst the whole population. Lastly, I am so confident that this equality will be gained, that I am prepared to accept as a consequence of the process of that gain, the seeming disappearance of what art is now left us; because I am sure that that will be but a temporary loss, to be followed by a genuine new birth of art, which will be the spontaneous expression of the pleasure of life innate in the whole people.
"This, I say, is the art which I look forward to, not as a vague dream, but as a practical certainty, founded on the general well-being of the people. It is true that the blossom of it I shall not see; therefore I may be excused if, in common with other artists, I try to express myself through the art of to-day, which seems
