pedants, though it may be ripened in studios by masters who are artists. A good craftsman the boy must become if he is to be a good artist; but let him teach himself the tricks of his trade by experiment, not in craft, but in art. To those who busy themselves about bringing art into the lives of the people, I would also say--Do not dabble in revivals. The very word smacks of the vault. Revivals look back; art is concerned with the present. People will not be tempted to create by being taught to imitate. Except that they are charming, revivals of morris-dancing and folk-singing are little better than Arts and Crafts in the open. The dust of the museum is upon them. They may turn boys and girls into nimble virtuosi; they will not make them artists. Because no two ages express their sense of form in precisely the same way all attempts to recreate the forms of another age must sacrifice emotional expression to imitative address. Old-world merry-making can no more satisfy sharp spiritual hunger than careful craftsmanship or half hours with our "Art Treasures." Passionate creation and ecstatic contemplation, these alone will satisfy men in search of a religion. I believe it is possible, though extremely difficult, to give people both--if they really want them. Only, I am sure that, for most, creation must precede contemplation. In Monsieur Poiret's _Ecole Martine_[28] scores of young French girls, picked up from the gutter or thereabouts, are at this moment creating forms of surprising charm and originality. That they find delight in their work is not disputed. They copy no master, they follow no tradition; what they owe to the past--and it is much--they have borrowed quite unconsciously with the quality of their bodies and their minds from the history and traditional culture of their race. Their art differs from savage art as a French _midinette_ differs from a squaw, but it is as original and vital as the work of savages. It is not great art, it is not profoundly significant, it is often frankly third-rate, but it is genuine; and therefore I rate the artisans of the _Ecole Martine_ with the best contemporary painters, not as artists, but as manifestations of the movement.