delicate reflections convey into the work a new source of delight. Here,
he said, we found perfect unity between the imaginative artist and the
handicraftsman. The one was not too free, the other was not a slave. The
eye of the artist saw, his brain conceived, his imagination created, but
the hand of the weaver had also its opportunity for wonderful work, and
did not copy what was already made, but re-created and put into a new and
delightful form a design that for its perfection needed the loom to aid,
and had to pass into a fresh and marvellous material before its beauty
came to its real flower and blossom of absolutely right expression and
artistic effect. But, said Mr. Morris in conclusion, to have great work
we must be worthy of it. Commercialism, with its vile god cheapness, its
callous indifference to the worker, its innate vulgarity of temper, is
our enemy. To gain anything good we must sacrifice something of our
luxury--must think more of others, more of the State, the commonweal: 'We
cannot have riches and wealth both,' he said; we must choose between
them.

The lecture was listened to with great attention by a very large and
distinguished audience, and Mr. Morris was loudly applauded.

The next lecture will be on Sculpture by Mr. George Simonds, and if it is
half so good as Mr. Morris it will well repay a visit to the
lecture-room. Mr. Crane deserves great credit for his exertions in
making this exhibition what it should be, and there is no doubt but that
it will exercise an important and a good influence on all the handicrafts
of our country.

SCULPTURE AT THE ARTS AND CRAFTS

(Pall Mall Gazette, November 9, 1888.)

The most satisfactory thing in Mr. Simonds' lecture last night was the
peroration, in which he told the audience that 'an artist cannot be
made.' But for this well-timed warning some deluded people might have
gone away under the impression that sculpture was a sort of mechanical
process within the reach of the meanest capabilities. For it must be
confessed that Mr. Simonds' lecture was at once too elementary and too
elaborately technical. The ordinary art student, even the ordinary
studio-loafer, could not have learned anything from it, while the
'cultured person,' of whom there were many specimens present, could not
but have felt a little bored at the careful and painfully clear
descriptions given by the lecturer of very well-known and uninteresting
methods of work. Howev