Books, music, pictures, sculpture, however, minister to only a small part of the artistic needs of the community. By far the most widespread, though not necessarily the most valuable, art-products are those which we may describe as commercial, or industrial, or, better, “applied” art. Only a minority, even in this age, concern themselves with the first-named, but we all wear clothes, use furniture, live, work, play, and worship in buildings, eat and drink out of vessels, and so on, through every one of our daily occupations. Into each of these art can, does, and must enter. We may wear clothes to keep us warm, but they must be either ugly or otherwise--their existence implies artistic properties, negative or positive. If they are ugly, we cannot avoid their ugliness, though it may dull our appreciative faculties. Of course this is true of all things. Every object, every occurrence almost, has its artistic aspect. With every manufactured article, every human production, however, this artistic quality is within our control. When we make a cup, a hat, or a church, we can make it as beautiful or as ugly as we like, subject to certain limitations, some of them real, some imaginary. But we must be sufficiently interested in its artistic value. It will seldom exist spontaneously, without conscious effort. That is, of course, the first and most powerful limitation. _Often we don’t care._ And so long as we don’t care we shall receive only according to our deserts. For the second limitation is that manufactured goods are intended primarily for utility, and the incentive for their production is profit. So long as we are content to take the ugly but useful, so long as our artistic discrimination does not give added commercial value to the beautiful, we can have no right to expect the manufacturer to bother. He is not an apostle of art, but a business-man. If we show him, as a business-man, that we desire a well-proportioned jug and will refuse to buy a clumsy one, he will, acting on business principles, supply the saleable article. So far the remedy is in our own hands. Thirdly, many manufacturers have an unjustifiably low opinion of public taste, and honestly believe that the majority like tawdry things when, in truth, they accept them for want of anything better or because they are cheaper. Fourthly, however, _when_ there is sufficient desire for the beautiful it need not cost any more, but _until_ there is, it _will_, since, it will be produced in response to a minority demand. This is a much more serious limitation than it should be, for several reasons.