But is that effort going to be successful? That is a question which no one can answer yet. But my object is to insist that in our age, because of its effort, an effort which has never been made so consciously and resolutely before, there is a possibility of a progress in art of the same nature as progress in other human activities. If we can escape from what has seemed to some men this inexorable process of decadence in art, we shall have accomplished one of the greatest achievements of the human will. We shall have redeemed art from the tyranny of mere fate. What we have to do now is to understand what it is that causes decadence in art, we have to apply a conscious science to the production of it. We have to see what are the social causes that produce excellence and decay in it. And we have made a great beginning in this. For we are all aware that art is not an isolated thing, that it does not merely happen, as Whistler said. We know that it is a symptom of something right or wrong with the whole mind of man and with the circumstances that affect that mind. We know at last that there is a connexion between the art of man and his intellect and his conscience. It was because William Morris saw that connexion that he, from being a pure artist, became a socialist and spoke at street corners. Such a change, such a waste and perversion as it seemed to many, would have been impossible in any former age. It was possible and inevitable, it was a natural process for Morris in the nineteenth century, because he was determined to exercise his will upon art, just as men in the past had exercised their will upon religion or politics; because he no longer believed that art happened as the weather happens and that the artist is a charming but irresponsible child swayed merely by the caprices of his own private subconsciousness. Was he right or wrong? I myself firmly believe that he was right. That if man has a will at all, if he is not a mere piece of matter moulded by circumstances, he has a will in art as in all other things. And, further, if he has a common will which can express itself in his other activities, in religion or politics, that common will must also be able to express itself in art. It has not hitherto done so consciously, because man in all periods of artistic success has been content to succeed without asking why he succeeded, and in all periods of artistic failure he has been content to fail without asking why he has failed. We have been for long living in a period of artistic failure, but we have asked, we are asking always more insistently, why we fail. And that is where our time differs from any former period of artistic decadence, why, I believe, it is not a period of decadence but one of experiment, and of experiment which will not be wasted, however much it may seem at the moment to fail. But if out of all this conscious effort and experiment we do arrest the process of decadence, if we do pass from