But the man, or woman, who embarks whole-heartedly on Art-training must in the end find himself involved in a struggle for the recovery of those true social values which have been lost (or the acquisition of those which are as yet unrealised) and for the substitution, among other things, of true for false economics. He cannot afford to live a life of aloof specialisation, when the conditions out of which he derives and into which he is throwing his work are of a complementarily disturbing kind. If, that is to say, the give-and-take conditions between artistic supply and social demand have become vitiated, if the conditions of the market, or of society, are unfavourable to the reception of products of true worth, then the artist must to some extent be an active party in the struggle for getting things set right. That does not mean that, if he has a gift for the designing of stage-scenery, he should necessarily be involved in a struggle to secure a good drainage system (though even that should have an interest for him) but it does mean very much that he should be tremendously interested in the education of his own and the public mind to the point of receiving good drama rather than bad, in order that his art may have worthy material to work upon; and as good drama largely arises from a lively conscience and the quickening in the community of new ideas, he will wish his public a keen and open mind on all social questions. Similarly a man who designs for textile fabrics should be very much concerned indeed in getting cleanly conditions and pure air in the towns and dwelling-houses where his designs have to live and look beautiful, or grow ugly and rot. And there you get set before you in small, the opposition between the interests of Art and the supposed interests of trade. It is--or it is supposed to be--in the interest of trade that things should wear out or get broken, and be replaced by other things. It is in the interest of Art that they should not wear out, that they should last; that everything worthy which is given to man’s hand to do should have secured to it the greatest possible length of life. And the reason is that the artist, if he be a true artist, realises the value of things, the life value; that he is on the side of creation and not of destruction, of preservation and not of waste. He has within his nature an instinct that the greatest possible longevity is the right condition for all manual labour; that when a man sets his hand to a thing he should have it as his main aim to give good value, to make it so that it will endure. And in this connection I would like to substitute for the words “art training” the word “education.” It is in the interests of education that things should be made to last, and that only things should be made of any lasting material that deserve lasting. Nothing should be produced the value of which will become negligible before it is honestly worn out. And so it is in the