Programmes, however, are entirely valueless except as they rest soundly on dynamic states of mind. Our problem as humanists is to create a state of mind in which neither artist nor layman will exaggerate the worth of his idiosyncrasy, nor yet follow the general drift unthinkingly. We are trying to make a man who is a friendly critic both of himself and of the society in which he moves, a man who accepts the growing complexity of living as offering him fascinating and profitable problems of adjustment. To maintain this hope in the face of the chicken-and-lobster-eating motorist, the radio fan, the devotee of the “talkies,” the sycophant artist who bows to base authority, and the behaviourist artist who admits none but that of his own glands--to keep the hope of making humanists in the face of the daily American spectacle requires an audacity which even the Expressionist might envy. But we contributors to this symposium have actually seen a few humanists made, have helped a little to make them perhaps; and we are dealing with spiritual values which transcend ordinary statistics. A few thousand genuine humanists in America would make our society humanistic; a hundred humanist painters, sculptors, architects, musicians, and men of letters would make our art solidly humanistic. In this hope we keep our tiny banner up beside the hoardings that promise to beautify our teeth, remove our corns, clothe our bodies appealingly, or incase the relentlessly exposed legs of our women in silk as durable as filmy. II That adjustment between artist and layman which seems so difficult to-day, until the seventeenth century and the beginning of modern times came of itself and in some such fashion as this--it hardly matters whether the scene be Italy, Spain, France, England, China, Japan, India, or Persia: in every case the basis was fine craftsmanship. Pretty much all objects of common use were delicately conceived and carefully made. The amateur of to-day gladly pays great prices for the ordinary grave figurines and temple vessels of China, for the horse trappings of the Scythians, for the common household gear and even the workman’s tools of the European Middle Ages and Renaissance, for the comfit boxes and carved fobs of feudal Japan, for the peasant furniture of Brittany and Scandinavia. This general high level of craftsmanship depended chiefly on the fact that even the humblest craftsman was also a designer. To the joy of fit execution was joined that of successful invention.