tals,
settlements, art galleries, and all other great public causes, instead
of boring everybody and teasing everybody, will be attracting everybody
and attracting everybody's money. They will be full of character,
courage, and vision. Our present great, vague, helpless, plaintive
public enterprises--one third art, one third millionaire, one third
deficit--drag along financially because they are listless compromises,
because they have no souls or vision, and are not interesting--not even
interesting to themselves.

Men with creative or imaginative quality, and courage, and insight into
ordinary human nature, and far-sightedness of what can be expected of
people, do not get on with the ordinary millionaire. It cannot be denied
that millionaires and artists get together in time; but the particular
point that seems to be interesting to consider is how the millionaires
and artists can be got together before the artists are dead, and before
the millionaires stop growing and stop being creative and understanding
creative men.

It might be well to consider the present situation in the concrete--the
theatre, for instance--and see how the situation lies, and where one
would have to begin, and how one would have to go to work to change it.

The present failure of the theatre to encourage what is best in modern
art is due to the fact that the public is unimaginative and inartistic.

If a public is unimaginative and inartistic, the only way the best
things that are offered can succeed with them is by having these best
things held before them long and steadily enough for them slowly to
compare them with other things, and see that they are better than the
other things, and that they are what they want.

Unimaginative and inartistic people do not know what they want. If
things are tried long enough with them they do. When they have been
tried long enough with them they support them themselves.

The only way fine things can be tried long enough is with sufficient
capital.

The only way sufficient capital for fine things can be obtained is by
having millionaires who appreciate fine things, and believe in them, and
believe the public in time will believe in them.

The only way in which a millionaire can recognize and believe in the
fine things and in the best artists is by being, in spirit and
temperament at least, an artist himself.

The only way in which a millionaire can be an artist is to work every
day in the spirit in wh