case for a long time in Russia. Hence not only does it appear that the number of artists will grow less, but that the number of people undamaged in their artistic impulses and on that account able to create or appreciate as amateurs is likely to be deplorably small. It is in this damaging effect of industry on human instinct that the immediate danger to art in Russia lies.
The effect of industry on the crafts is quite obvious. A craftsman who is accustomed to work with his hands, following the tradition developed by his ancestors, is useless when brought face to face with a machine. And the man who can handle the machine will only be concerned with quantity and utility in the first instance. Only gradually do the claims of beauty come to be recognized. Compare the modern motor car with the first of its species, or even, since the same law seems to operate in nature, the prehistoric animal with its modern descendant. The same relation exists between them as between man and the ape, or the horse and the hipparion. The movement of life seems to be towards ever greater delicacy and complexity, and man carries it forward in the articles that he makes and the society that he develops. Industry is a new tool, difficult to handle, but it will produce just as beautiful objects as did the mediæval builder and craftsman, though not until
