PEOPLE often talk as if there was an opposition between what is beautiful and what is useful. There is no opposition to beauty except ugliness: all things are either beautiful or ugly, and utility will be always on the side of the beautiful thing, because beautiful decoration is always on the side of the beautiful thing, because beautiful decoration is always an expression of the use you put a thing to and the value placed on it. No workman will beautifully decorate bad work, nor can you possibly get good handicraftsmen or workmen without having beautiful designs. You should be quite sure of that. If you have poor and worthless designs in any craft or trade you will get poor and worthless workmen only, but the minute you have noble and beautiful designs, then you get men of power and intellect and feeling to work for you. By having good designs you have workmen who work not merely with their hands but with their hearts and heads too; otherwise you will get merely the fool or the loafer to work for you.
That the beauty of life is a thing of no moment, I suppose few people would venture to assert. And yet most civilised people act as if it were of none, and in so doing are wronging both themselves and those that are to come after them. For that beauty which is meant by art is no mere accident of human life which people can take or leave, but a positive necessity of life if we are to live as nature meant us to, that is to say unless we are content to be less than men.
Do not think that the commercial spirit which is the basis of your life and cities here is opposed to art. Who built the beautiful cities of the world but commercial men and commercial men only?
Genoa built by its traders, Florence by its bankers, and Venice, most lovely of all, by its noble and honest merchants.
I do not wish you, remember, 'to build a new Pisa,' nor to bring 'the life or the decorations of the thirteenth century back again.'
'The circumstances with which you must surround your workmen are those' of modern American life, 'because the designs you have now to ask for from your workmen are such as will make modern' American 'life beautiful.' The art we want is the art based on all the inventions of modern civilisation, and to suit all the needs of nineteenth-century life.
Do you think, for instance, that we object to machinery? I tell you we reverence it; we reverence it when it does its proper work, when it relieves man from ignoble and soulless labour, not when it seeks to do that which is valuable only when wrought by the hands and hearts of men. Let us have no machine-made ornament at all; it is all bad and worthless and ugly. And let us not mistake the means of civilisation for the end of civilisation; steam-engine, telephone and the like, are all wonderful, but remember that their value depends entirely on the noble uses we make of them, on the noble spirit in which we employ them, not on the things themselves.
It is, no doubt, a great advantage to talk to a man at the Antipodes through a telephone; its advantage depends entirely on the value of what the two men have to say to one another. If one merely shrieks slander through a tube and the other whispers folly into a wire, do not think that anybody is very much benefited by the invention.
The train that whirls an ordinary Englishman through Italy at the rate of forty miles an hour and finally sends him home without any memory of that lovely country but that he was cheated by a courier at Rome, or that he got a bad dinner at Verona, does not do him or civilisation much good. But that swift legion of fiery-footed engines that bore to the burning ruins of Chicago the loving help and generous treasure of the world was as noble and as beautiful as any golden troop of angels that ever fed the hungry and clothed the naked in the antique times. As beautiful, yes; all machinery may be beautiful when it is undecorated even. Do not seek to decorate it. We cannot but think all good machinery is graceful, also, the line of strength and the line of beauty being one.
Give then, as I said, to your workmen of to-day the bright and noble surroundings that you can yourself create. Stately and ****** architecture for your cities, bright and ****** dress for your men and women; those are the conditions of a real artistic movement. For the artist is not concerned primarily with any theory of life but with life itself, with the joy and loveliness that should come daily on eye and ear for a beautiful external world.
But the simplicity must not be barrenness nor the bright colour gaudy. For all beautiful colours are graduated colours, the colours that seem about to pass into one another's realm - colour without tone being like music without harmony, mere discord.