In a loose, inconsecutive way, the objectives of regional planning have been dealt with by the conservation movement during the last century; and if the art itself has neither a corpus of experience nor an established body of practitioners, this is only to say that it has, as it were, broken through the surface in a number of places and that it remains to be gathered up and intelligently used. When regional planning starts its active career, it will concern itself to provide a new framework for our communities which will redistribute population and industry, and recultivate the environment--substituting forestry for timber-mining, stable agriculture for soil-mining, and in general the habit of dressing and keeping the earth for our traditional American practice of stripping and deflowering it. Architecture begins historically when the “Bauer” who plants becomes the “Bauer” who builds; and if our architecture is to have a substantial foundation, it is in a refreshened countryside that we will perhaps find it. IV Let us now turn to industry. The medieval order was disrupted in America before it could fully take root. As a result we have no craft-tradition that is properly native, with the exception of the shipbuilders and furniture-makers of New England, whose art has been on the wane since the second quarter of the nineteenth century. We have covered up this deficiency by importing from generation to generation foreign workmen, principally Germans and Italians, in whose birthplaces the art of using wood and stone has not been entirely lost; but we are still far from having created an independent craft-tradition of our own. If art is the fine efflorescence of a settled life, invention is the necessity of the roving pioneer who every day faces new difficulties and new hazards; and accordingly we have devoted our energies to the machine, and to the products of the machine. All that we cannot do in this medium we regard as “mere” art, and put it apart from the direct aims and practices of everyday life.