0] _Second Thoughts of an Economist_, p. 89.

[71] _Principles of Economics_, vol. i, p. 11. It is interesting to note
that in his latest book, _Inventors and Money-making, lectures on some
relations between Economics and Psychology_ (1915), Professor Taussig to
some extent goes back upon the point of view of the extract given above.

[72] A similar inquiry on a much larger scale was made by Adolf
Levinstein in his book _Die Arbeiterfrage_ (Munich, 1910). He examined
4,000 workpeople, consisting of coalminers, cotton operatives, and
engineers. With the exception of a few turners and fitters almost all
replied that they found little or no pleasure in their work.

[73] _The Great Society_, p. 363.

[74] Especially the wonderful results obtained from the young criminals
at the Little Commonwealth in Dorsetshire.

[75] See _Readings in Vocational Guidance_ by Meyer Bloomfield (Boston,
1915).

[76] _Lucy Bettesworth_, pp. 178-80, and 214-16.

[77] This sentence is practically an unconscious paraphrase of a passage
from Aristotle's defence of slavery.

[78] _The Welsh Outlook_, August 1916, p. 272.

[79] _Wealth of Nations_, Book I, ch. viii.

IX

PROGRESS IN ART

A. CLUTTON BROCK

It is often said that there can be no such thing as progress in art. At
one time the arts flourish, at another they decay: but, as Whistler put
it, art happens as men of genius happen; and men cannot make it happen.
They cannot discover what circumstances favour art, and therefore they
cannot attempt to produce those circumstances. There are periods of
course in which the arts, or some one particular art, progress. One
generation may excel the last; through several generations an art may
seem to be rushing to its consummation. This happened with Greek
sculpture and the Greek drama in the sixth and fifth centuries; with
architecture and all kindred arts in western Europe in the twelfth and
thirteenth centuries, and at the same time with many arts in China. It
happened with painting and sculpture in Italy in the fourteenth and
fifteenth centuries, with literature in England in the sixteenth
century, with music in Germany in the eighteenth century and the
beginning of the nineteenth. But in all these cases there followed a
decline, often quite unconscious at the time and one of which we cannot
discover the causes. Attempts are made by historians of the arts to
state the causes; but they satisfy only those who make them, for the