LITMIR.BIZ

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city of the richest country of the richest age of the world: no luxury of time past can compare with our luxury; and yet if you could clear your eyes from habitual blindness you would have to confess that there is no crime against art, no ugliness, no vulgarity which is not shared with perfect fairness and equality between the modern hovels of Bethnal Green and the modern palaces of the West End: and then if you looked at the matter deeply and seriously you would not regret it, but rejoice at it, and as you went past some notable example of the aforesaid palaces you would exult indeed as you said, 'So that is all that luxury and money can do for refinement.'

      For the rest, if of late there has been any change for the better in the prospects of the arts; if there has been a struggle both to throw off the chains of dead and powerless tradition, and to understand the thoughts and aspirations of those among whom those traditions were once alive powerful and beneficent; if there has been abroad any spirit of resistance to the flood of sordid ugliness that modern civilisation has created to make modern civilisation miserable: in a word, if any of us have had the courage to be discontented that art seems dying, and to hope for her new birth, it is because others have been discontented and hopeful in other matters than the arts; I believe most sincerely that the steady progress of those whom the stupidity of language forces me to call the lower classes in material, political, and social condition, has been our real help in all that we have been able to do or to hope, although both the helpers and the helped have been mostly unconscious of it.

      It is indeed in this belief, the belief in the beneficent progress of civilisation, that I venture to face you and to entreat you to strive to enter into the real meaning of the arts, which are surely the expression of reverence for nature, and the crown of nature, the life of man upon the earth.

      With this intent in view I may, I think, hope to move you, I do not say to agree to all I urge upon you, yet at least to think the matter worth thinking about; and if you once do that, I believe I shall have won you. Maybe indeed that many things which I think beautiful you will deem of small account; nay, that even some things I think base and ugly will not vex your eyes or your minds: but one thing I know you will none of you like to plead guilty to; blindness to the natural beauty of the earth; and of that beauty art is the only possible guardian.

      No one of you can fail to know what neglect of art has done to this great treasure of mankind: the earth which was beautiful before man lived on it, which for many ages grew in beauty as men grew in numbers and power, is now growing uglier day by day, and there the swiftest where civilisation is the mightiest: this is quite certain; no one can deny it: are you contented that it should be so?

      Surely there must be few of us to whom this degrading change has not been brought home personally. I think you will most of you understand me but too well when I ask you to remember the pang of dismay that comes on us when we revisit some spot of country which has been specially sympathetic to us in times past; which has refreshed us after toil, or soothed us after trouble; but where now as we turn the corner of the road or crown the hill's brow we can see first the inevitable blue slate roof, and then the blotched mud- coloured stucco, or ill-built wall of ill-made bricks of the new buildings; then as we come nearer and see the arid and pretentious little gardens, and cast-iron horrors of railings, and miseries of squalid out-houses breaking through the sweet meadows and abundant hedge-rows of our old quiet hamlet, do not our hearts sink within us, and are we not troubled with a perplexity not altogether selfish, when we think what a little bit of carelessness it takes to destroy a world of pleasure and delight, which now whatever happens can never be recovered?

      Well may we feel the perplexity and sickness of heart, which some day the whole world shall feel to find its hopes disappointed, if we do not look to it; for this is not what civilisation looked for: a new house added to the old village, where is the harm of that? Should it not have been a gain and not a loss; a sign of growth and prosperity which should have rejoiced the eye of an old friend? a new family come in health and hope to share the modest pleasures and labours of the place we loved; that should have been no grief, but a fresh pleasure to us.

      Yes, and time was that it would have been so; the new house indeed would have taken away a little piece of the flowery green sward, a few yards of the teeming hedge-row; but a new order, a new beauty would have taken the place of the old: the very flowers of the field would have but given place to flowers fashioned by man's hand and mind: the hedge-row oak would have blossomed into fresh beauty in roof-tree and lintel and door-post: and though the new house would have looked young and trim beside the older houses and the ancient church; ancient even in those days; yet it would have a piece of history for the time to come, and its dear and dainty cream-white walls would have been a genuine link among the numberless links of that long chain, whose beginnings we know not of, but on whose mighty length even the many-pillared garth of Pallas, and the stately dome of the Eternal Wisdom, are but single links, wondrous and resplendent though they be.

      Such I say can a new house be, such it has been: for 'tis no ideal house I am thinking of: no rare marvel of art, of which but few can ever be vouchsafed to the best times and countries; no palace either, not even a manor-house, but a yeoman's steading at grandest, or even his shepherd's cottage: there they stand at this day, dozens of them yet, in some parts of England: such an one, and of the smallest, is before my eyes as I speak to you, standing by the roadside on one of the western slopes of the Cotswolds: the tops of the great trees near it can see a long way off the mountains of the Welsh border, and between a great county of hill, and waving woodland, and meadow and plain where lies hidden many a famous battlefield of our stout forefathers: there to the right a wavering patch of blue is the smoke of Worcester town, but Evesham smoke, though near, is unseen, so small it is: then a long line of haze just traceable shows where the Avon wends its way thence towards Severn, till Bredon Hill hides the sight both of it and Tewkesbury smoke: just below on either side the Broadway lie the grey houses of the village street ending with a lovely house of the fourteenth century; above the road winds serpentine up the steep hill-side, whose crest looking westward sees the glorious map I have been telling of spread before it, but eastward strains to look on Oxfordshire, and thence all waters run towards Thames: all about lie the sunny slopes, lovely of outline, flowery and sweetly grassed, dotted with the best-grown and most graceful of trees: 'tis a beautiful countryside indeed, not undignified, not unromantic, but most familiar.

      And there stands the little house that was new once, a labourer's cottage built of the Cotswold limestone, and grown now, walls and roof, a lovely warm grey, though it was creamy white in its earliest day; no line of it could ever have marred the Cotswold beauty; everything about it is solid and well wrought: it is skilfully planned and well proportioned: there is a little sharp and delicate carving about its arched doorway, and every part of it is well cared for: 'tis in fact beautiful, a work of art and a piece of nature-- no less: there is no man who could have done it better considering its use and its place.

      Who built it then? No strange race of men, but just the mason of Broadway village: even such a man as is now running up down yonder three or four cottages of the wretched type we know too well: nor did he get an architect from London, or even Worcester, to design it: I believe 'tis but two hundred years old, and at that time, though beauty still lingered among the peasants' houses, your learned architects were building houses for the high gentry that were ugly enough, though solid and well built; nor are its materials far-fetched; from the neighbouring field came its walling stones; and at the top of the hill they are quarrying now as good freestone as ever.

      No, there was no effort or wonder about it when it was built, though its beauty makes it strange now.

      And are you contented that we should lose all this; this simple, harmless beauty that was no hindrance or trouble to any man, and that added to the natural beauty of the earth instead of marring it?

      You cannot be contented with it; all you can do is to try to forget it, and to say that such things are the necessary and inevitable consequences of civilisation. Is it so indeed? The loss of suchlike beauty is an undoubted evil: but civilisation cannot mean at heart to produce evils for mankind: such losses therefore must be accidents of civilisation, produced by its carelessness, not its malice; and we, if we be men and not machines, must try to amend them: or civilisation itself will be undone.

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