l condition of noble colour which is
the secret of the school of Venice; for I wish rather, in this lecture at
least, to dwell on the effect that decorative art has on human life--on
its social not its purely artistic effect.

There are two kinds of men in the world, two great creeds, two different
forms of natures: men to whom the end of life is action, and men to whom
the end of life is thought. As regards the latter, who seek for
experience itself and not for the fruits of experience, who must burn
always with one of the passions of this fiery-coloured world, who find
life interesting not for its secret but for its situations, for its
pulsations and not for its purpose; the passion for beauty engendered by
the decorative arts will be to them more satisfying than any political or
religious enthusiasm, any enthusiasm for humanity, any ecstasy or sorrow
for love. For art comes to one professing primarily to give nothing but
the highest quality to one's moments, and for those moments' sake. So
far for those to whom the end of life is thought. As regards the others,
who hold that life is inseparable from labour, to them should this
movement be specially dear: for, if our days are barren without industry,
industry without art is barbarism.

Hewers of wood and drawers of water there must be always indeed among us.
Our modern machinery has not much lightened the labour of man after all:
but at least let the pitcher that stands by the well be beautiful and
surely the labour of the day will be lightened: let the wood be made
receptive of some lovely form, some gracious design, and there will come
no longer discontent but joy to the toiler. For what is decoration but
the worker's expression of joy in his work? And not joy merely--that is
a great thing yet not enough--but that opportunity of expressing his own
individuality which, as it is the essence of all life, is the source of
all art. 'I have tried,' I remember William Morris saying to me once, 'I
have tried to make each of my workers an artist, and when I say an artist
I mean a man.' For the worker then, handicraftsman of whatever kind he
is, art is no longer to be a purple robe woven by a slave and thrown over
the whitened body of a leprous king to hide and to adorn the sin of his
luxury, but rather the beautiful and noble expression of a life that has
in it something beautiful and noble.

And so you must seek out your workman and give him, as far as possible,
t