Industrial conditions which encourage the building of houses that are only intended to last a lease; which permit the destruction of our canal system because that means of transit has proved a dangerous rival to the railway system; which impose a quick change in fashions on which depend various kinds of ephemeral and parasitic industries; which encourage a vast production of ephemeral journalism and magazine illustration which after a single reading is thrown aside and wasted--all these things, which have become nationalised in our midst, are a national anti-Art training. We English have, as the result of these things, no national school of architecture; we have no national costume (though I myself can remember the time when in our Midland counties not only the farm labourer, but the small yeoman farmer himself went to church as well as to labour in the beautiful smock-frock worn by their forefathers) and we have killed out from our midst one of the most beautiful national schools of popular art that ever existed, the school of the illustrators of the ’sixties; and we have done these things mainly from our increasing haste to get hold of something new, and our almost equal haste, when we have it, to throw it away again. We have cast our bread upon the waters. The sort of wealth to the pursuit of which nations have committed themselves needs (it now appears) an enormous amount of protection. And it cannot have been without some demoralising effect upon the mind of the community that we have been driven by our outstanding necessities to build every year six or seven of those enormous engines of destruction called “Dreadnoughts,” whose effective lease of life is about 20 years, something considerably shorter than the lease of life which we allow for our most jerry-built lodging-houses! And on these short-lived products of industry (which are to-day the sign and symbol and safeguard of our world-power), our aristocracy of labour has been spending its strength, and the nation has now to depend on them for its safety. The cost of building a “Dreadnought” is about the same as the cost of building St. Paul’s Cathedral. Imagine to yourself a nation building every year six or seven St. Paul’s Cathedrals, with the consciousness that in twenty-five or thirty years they will all again be levelled to the dust, and you will get from that picture something of the horror which an artist is bound to feel at the necessity which thus drives us forward, even in peace-time, to the continuous destruction, on such a colossal scale, of the labour of men’s hands. And the more it is revealed to us to-day (by the present catastrophe) as an absolute political necessity, the more is the disorder of civilization we have arrived at condemned.