the other hand, there are those who say that the Bulgar will never be Americanised, that he only comes to be a waiter in America that he may afford to return to be a peasant in Bulgaria. I cannot decide this issue, and indeed I did not introduce it to this end. I was led to it by a certain line of reflection that runs along the Great White Way, and I will continue to follow it. The criticism, if we could put it rightly, not only covers more than New York but more than the whole New World. Any argument against it is quite as valid against the largest and richest cities of the Old World, against London or Liverpool or Frankfort or Belfast. But it is in New York that we see the argument most clearly, because we see the thing thus towering into its own turrets and breaking into its own fireworks.
I disagree with the aesthetic condemnation of the modern city with its sky-scrapers and sky-signs. I mean that which laments the loss of beauty and its sacrifice to utility. It seems to me the very reverse of the truth. Years ago, when people used to say the Salvation Army doubtless had good intentions, but we must all deplore its methods, I pointed out that the very contrary is the case. Its method, the method of drums and democratic appeal, is that of the Franciscans or any other march of the Church Militant. It was precisely its aims that were dubious, with their dissenting morality and despotic finance. It is somewhat the same with things like the sky-signs in Broadway. The aesthete must not ask me to mingle my tears with his, because these things are merely useful and ugly. For I am not specially inclined to think them ugly; but I am strongly inclined to think them useless. As a matter of art for art's sake, they seem to me
