you to think what your furnishing of your rooms means, and remember that to every person who comes into those rooms--and more especially perhaps to the maids whom you set to dust them--you are helping to give either an Art-training or an anti-Art-training, a training in true uses and values, or in misuses and mere waste and wantonness. Of course I know that to some extent you are victims. You have dear friends who will give you presents, and you can’t hurt their feelings by not putting up another shelf, or erecting another glass-shade, where neither are wanted, or driving another peg into the wall to hang a picture where no picture can be properly seen. And probably the reason you cannot is because you have shown yourself so thoughtless and haphazard in all your ideas about decoration and house-furnishing that even in that house, which you falsely assert to be your castle, you stand defenceless before this invasion of ornamental microbes! Obviously the house is not yours if others can break in and spoil its borders with their own false taste. But I can assure you that those inroads do not happen to people whose rooms show a scrupulous sense of selection. You inspire then (even in the thoughtless) a certain dread and respect. Though they regard you as uncanny and call you a crank, you are beginning their Art-training for them. I remember, in this connection, a Quaker acquaintance whose friends descended upon him at the time of his marriage with certain household monstrosities which he was expected thereafter to live down to. It was a cataclysm which he could not avert; but he found a remedy. He became a passive resister to the Education rate, and year by year he placed at the disposal of the distraining authorities a selection of his wedding-presents till his house was purged of them. I have said that you cannot separate Art-training from general education; and here, at all events, you find the two happily combined--a war on bad art and on a bad educational system joined economically in one. So much, then, for thoughtless superfluity as an impediment to a recognition of true values. I want now to come to the importance of permanence as a condition underlying the aim of all production if it is to be wholesome in its social results. I have said that an instinct for permanence is what differentiates artistic from supposed trade interests. Take architecture. Do you imagine that architects or builders are likely to design or build in the same style for a system of short leaseholds as they might for freeholds? And is the building which is calculated just to “save its face” until the lease expires likely to be so good either in design or workmanship? Read, in that connection, what Coventry Patmore says in his essay on “Greatness in Architecture”: