arts and wills of men.

If even our literary men now tell us that conduct is
three-fourths of life, it is because Hebraism and the
Christianity which sprang from Hebraism have stamped this
idea ineffaceably upon the conscience of mankind. The
selfishness and sensuality in us may revolt against the Ten
Commandments and the Golden Rule, but the still small voice
of conscience in us recognizes their authority and
acknowledges that if they had might as they have right, they
would absolutely govern the world. The most, the best, of
greatness is goodness. The greatest man on earth is the man
of pure heart and of clean hands.

NOTABLE NEGLECT OF INDUSTRIAL ARTS.

A Plea for Arts and Crafts as the Logical
Basis of a National Development
of the Fine Arts.

In line with President Schurman's criticism of American culture is the
plea by Charles de Kay, the New York art critic, for more attention to the
industrial arts. His argument is that out of the arts and crafts the fine
arts naturally develop; that out of the artist-artisan comes the highest
class of artist, as, for example, Augustus Saint Gaudens, who began as a
cameo cutter. To ignore the industrial arts is, so to speak, to leave out
of count that solid middle class upon which alone the aristocracy of art
can safely rest. Writing in the New York _Times_, Mr. de Kay says:

Plainly enough there is a field scarcely plowed at all in
the arts and crafts. These arts in the Middle Ages, and
latterly in Japan and India, absorbed and absorb the
energies of the cleverest hands and brightest minds; but in
America and England to-day are neglected for the fine arts,
because the rare prizes in the latter, whether of fame or of
wealth, dazzle the imagination.

Fashion rather than taste has set easel paintings so
absolutely in the forefront that with most people this
represents art in its entirety, and though the appreciation
of the minor arts of Japan has opened the eyes and enlisted
the sympathies of thousands, this one-sided view of art
holds on; so encouragement of native arts and crafts is
slack and uncertain.

Yet a democracy like ours, while the most difficult of all
communities to rouse to a vivid sympathy with the industrial
arts, owing to cheap processes and the influence exerted by
traditions that began in aristocratic lands, is of all
others