ers, perhaps, even
of distinction--to take up the practice of one or other of the crafts.
All would be well, for such new workers are needed, if it was indeed the
_practice_ of the craft that they set themselves to. But too often it is
what is called the _designing_ for it only in which they engage, and it
is the duty of every one speaking or writing about the matter to point
out how fatal is that error.

One must provide a word, then, for such as these also here if one can.

Indeed, to reckon up all the classes to whom such a book as this should
be addressed, we should have, I think, to name:--

(1) The worker in the ordinary "shop," who is learning there at present,
to our regret, only a portion of his craft, and who should be given an
insight into the whole, and into the fairyland of design.

(2) The magnificent and superior artist, mature in imagination and
composition, fully equipped as a painter of pictures, perhaps even of
academical distinction, who turns his attention to the craft, and
without any adequate practical training in it, which alone could teach
its right principles, makes, and in the nature of things is bound to
make, great mistakes--mistakes easily avoidable. No such thing can
possibly be right. Raphael himself designed for tapestry, and the
cartoons are priceless, but the tapestry a ghastly failure. It could not
have been otherwise under the conditions. Executant separated from
designer by all the leagues that lie between Arras and Rome.

(3) The patron, who should know something of the craft, that he may not,
mistrusting, as so often at present, his own taste, be compelled to
trust to some one else's Name, and of course looks out for a big one.

(4) The architect and church dignitary who, having such grave
responsibilities in their hands towards the buildings of which they are
the guardians, wish, naturally, to understand the details which form a
part of their charge. And lastly, a new and important class that has
lately sprung into existence, the well-equipped, picked
student--brilliant and be-medalled, able draughtsman, able painter;
young, thoughtful, ambitious, and educated, who, instead of drifting, as
till recently, into the overcrowded ranks of picture-making, has now the
opportunity of choosing other weapons in the armoury of the arts.

To all these classes apply those golden words from Ruskin's "Aratra
Pentelici" which are quoted on the fly-leaf of the present volume, while
the spi