In the early times the craftsman was independent to a great extent of architectural influence, but later he was compelled to study the architectural environment and adapt his designs in accordance. Even then he was true to his craft conditions until the designing was taken out of his hands by the newly evolved professional who, in many instances had little knowledge of, or was indifferent to the technical side of the craft. Possibly the greatest offender in this respect was the French designer of the Rococo period, whose woodwork design is regardless of constructive detail, and it is to the everlasting credit of the workmen that they overcame the difficulties thrown in their way, and that so much of this work is still in existence. _Ethical Side of Art_ Art is also reflective of the ethics and morals of the time; compare, for instance, the robust character of Gothic work with the lack of meaning and insincerity of the later Renaissance, degenerating into the license of the Rococo. Much that is commonly regarded as ornament in traditional work was originally invested with symbolic meaning, in later times lost sight of, with resultant loss of character and interest. The study of traditional work is essential to the designer, not merely for reproduction but on account of its value as reflective of the experience and point of view of past exploiters. _Desire for Novelty_ The present is marked by a feverish anxiety to be new, but the old worker had a more humble spirit and was content to carry on a tradition a little further if possible. Much that appears to be new will on investigation prove to be an old friend in disguise, and in venturing on what is apparently a new idea it may be well to reflect as to whether it may not have occurred to others, and whether it is worth doing. “Novelty,” a detestable word, should have no place in artistic considerations. That which is really good should be good for all time; but the sporadic outbreaks that occur from time to time in so-called new phases, have their little day and relapse into the limbo of the forgotten. In the meantime tradition still goes on, sometimes progressing, now and then retrogressing, but at all times unbroken. History as written is misleading, dealing as it does with personalities and conquests; the real history of the world can be read in its artistic development. CHAPTER II HISTORIC REVIEW Some of the factors in the evolution of Art have already been briefly suggested, but to thoroughly appreciate artistic production a passing acquaintance, at least, with the various phases of historic developments is essential. The scope of the present work obviously renders it impossible to deal with the subject in detail, but libraries are accessible to those who are desirous of extending their knowledge.