But when we, as men and women, and as nations, realise that human nature is the most beautiful thing on earth (in its possibilities, I mean) then surely our chief desire will be to make that our wealth here and now, and out of it rear up our memorial to the ages that come after. ART AND CITIZENSHIP (1910) The most hardened advocate of “Art for Art’s sake,” will hardly deny that Art, for all its “sacred egoism,” is a social force. The main question is where does your Art-training begin? The conditions of the home, the workshop, and of social industries do more than the schools and the universities to educate a nation; and more especially, perhaps, to educate it toward a right or a wrong feeling about Art. And if, in these departments, your national education takes a wrong line, then (however much you build schools over the heads of your pupils and intercept their feet with scholarships, and block their natural outlook on life with beautiful objects produced in past ages and in other countries) your Art-training will partake of the same condemnation. True education, as opposed to merely commercial education, is a training of mind and body to an appreciation of right values; values, not prices. The man who has an all-round appreciation of right values is a well-educated man; and he could not have a better basis either for the love or the practice of Art than this appreciation of what things are really worth. But, in the present age, which prides itself on its inhuman system of specialisation as a means to economy, such a man is rather a rare phenomenon; for it is about as difficult to get out of present conditions a true appreciation of life values--a true Art-training--as it is to get a true artist. Where your national conditions shut down the critical faculties, and make their exercise difficult, there too, your creative artistic faculties are being shut down and made difficult also. They are far more interdependent than your average Art-teacher or Art-student is generally willing to admit. The idea that he has to concern himself with conditions outside his own particular department threatens him with extra trouble, and the burden of a conscience that the doctrine of “Art for Art’s sake,” will not wholly satisfy; and so he is inclined to shut his eyes, and direct his energies to the securing of favourable departmental instead of right national conditions.