Compare with this for a moment the lot of the modern workman. He goes out in the morning to work that seldom is interesting, that he {170} practically never cares to do only that he must get money enough to support himself and his family, and that requires the frequent repetition of routine movements until he is weary, body and soul. He must work or starve. He has very little interest in it as a rule, often none at all, and sometimes he is thoroughly disgusted with it. He must earn money enough to get bread to live to-day so that he shall be able to go and work again tomorrow. And so the humdrum round from day to day with nothing to relieve the prospect until the darkness comes when no man can work. As to dreams of accomplishment or pleasure in his work, as the artist has, there is practically none. He needs must go on, and that is all about it. Is it any wonder that this breeds discontent? Happy is the man who has found his work. There is only one happiness in this little life of ours and that consists in having work to do that one cares to do, and the chance to do it in such order and with such rewards as make life reasonably pleasant, satisfying from the material side. There are no pleasures in life equal to the joy of the worker in his work when he cares for it. Pleasures are at most but passing incidents. The work is what counts. These workmen of the Middle Ages taught in the technical schools of that olden time had chances for happiness, chances that were well taken, such as perhaps no other generation of workmen could have. Of course it may be said that, after all, there {171} were only opportunities for a few to work at the great architectural monuments of the thirteenth and fourteenth centuries. In a sense this is true, but it must not be forgotten that without modern mechanical means and with the slow, patient laborious effort required to raise these huge edifices, much time and many men were required. Besides the cathedrals and the abbeys there were many private castles and town halls, and then in many places the homes of the gilds themselves, some of which, as, for instance, the famous hall of the clothmakers at Ypres, are among the most beautiful monuments of the architecture of that period. In everything, however, the workmen had a chance to do beautiful work. In the textile industries this is the time when some of the most beautiful cloth ever made was invented and brought to perfection. Linen was woven with wonderful skill, satin was invented and brought to perfection, silk brocades of marvellous designs of many kinds were made, threads of gold and silver were introduced into the textures, wonderfully fine effects were studied out and applied in the industries, and just as in the decorative arts so in the arts of cloth-weaving and of many other forms of human endeavor, there was an artistic craftsmanship such as we have lost sight of to a great extent in our age of machinery.