is a dog and that a rose: because, through the loss of tradition on the part of designers which followed the introduction of the steam-driven machine, resulting in the production of a thousand unbeautiful objects where but one had been produced, popular taste declined: because, finally, the average man has n't time to think about such things and, if he had the time, does not care to think about them, anyway.

While granting that the four principles thus briefly outlined are, in the main, reasonable, the reader may yet protest that they do not give him sufficient grounds upon which to base his judgments. How, he may inquire, is he to tell which of two given vases has the finer form or whether this rose and gold brocade is more beautiful than that red and green one?

To acknowledge the truth of such a query is easier than to formulate an answer to it. Analyses of the relative beauty of contrasting forms or of color harmonies are, at best, difficult: a book devoted to each might not prove satisfactory: a few paragraphs could do little or no good. For information on these all-important subjects the reader is referred, in the appended bibliography, to standard works.

During the past one hundred years greater changes have occurred in the material side of man's daily life than in the thousand or the five thousand years which preceded them.

From the dawn of civilization up to the year 1804 man, when he wished to go from one place to another, went on foot or rode on or drove behind horses: then came the steamdriven engine, and later, the automobile and the aëroplane. From the dawn of civilization up to the year 1802 man lighted his home or his public building with tapers fed by vegetable or animal oils: no variation, scarcely even an improvement in the traditional methods: since that time he has revolutionized lighting first by gas and then by electricity.

From the dawn of civilization up to 1803 man wove his cloth upon hand looms: at that date the steam-driven loom was introduced, and the output was increased a thousandfold. From the dawn of civilization up to 1836 man made a drawing when he wished to convey an impression of a person or a place the invention of the camera has made it possible to record, in the twinkling of an eye, the likeness of material objects.

In the comparatively brief space of one hundred years man has developed ways of doing things which upset traditions handed down through countless generations from immemorial beginnings. We should not, therefore, be surprised at the artistic chaos in which we find ourselves, nor cry aloud that the times are out of joint: we must face the fact that we are in the first stages of a new era and plan to build anew to meet the irrevocably changed conditions.

Before the coming of the power-driven machine articles of daily use were made by hand. This was, naturally, a comparatively slow process. The craftsman, as a rule the designer of the things he made, producing slowly, had time to absorb the tradition of his craft. New decorative motifs. made their way very gradually into the current of accepted forms which were handed down from one generation to the next. The maker, and his public, had time to weigh questions of color and form: and although unbeautiful and occasionally illogical articles were produced, at least they were produced singly.

But during the nineteenth century first one and then another article was produced by machinery. At the start these did not greatly differ in design from the current handmade products. Then, with increasing rapidity, new forms were demanded and the designers, not prepared for the changed conditions, could not meet the demands. Less well designed articles were turned out: these lowered the public taste (a public becoming more and more hurried as conditions fostered a faster-moving life): the still less good was

tolerated; the machines ground these out, still further debasing the standards and so the vicious interaction went circling lower and lower till, in the 'eighties, articles of daily use reached a level of ugliness never before known in the history of mankind.

In one of our great museums of art a little lady paused in a gallery where splendid rugs, glowing mosaics and other objects of beauty were displayed and asked one passing where the "Art Galleries" might be found. Upon inquiry it developed that she sought the rooms where paintings were shown. Paintings were, to her, Art — these other treasures were not. Such a state of mind is not uncommon. Nor is it surprising when one considers the artistic quality of the objects used day by day by the average person since the middle of the last century. He is so used to unbeautiful streets, unbeautiful buildings and unbeautiful furnishings that the idea that city planning, architecture or the designing and making of clothing, furniture and utensils might come under the head of artistic activities has never occurred to him. Painting and sculpture - yes: these (he thinks) are ornamental frills and therefore Art - but those other things! They are just everyday necessities; in what possible way could artistic considerations of any kind apply to them?

This is the real problem which we must solve: how to bring to the average man a realization that there may be beauty in everything man (or the man-made machine) makes. Since, for the most part, our cities and all that they contain are ugly the unthinking suppose that this is preordained the beautiful building or the graceful vase (should he recognize in them these qualities) are accidents.

Yet the business man has begun to realize that Art, curiously enough, can help him (although, misdoubting such manifestations, he refers to it as "Commercial Art". clearly a contradiction in terms). Compare the advertising pages of a magazine of 1882 and 1922: the story is there for all to see. The automobiles which trundled along our

streets twenty years ago were ungainly when compared to those of today. While the makers are business men and not artists, the advance has been along the lines of fitness, or suitability which is, in its degree, beauty.

Although we have but made a beginning, taste is improving beauty is creeping into our daily life. We must, however, work patiently for many years before we can hope to find the average man thinking of anything save painting, sculpture and music in terms of artistic production, so long has he regarded buildings and their furnishings as necessities in which beauty has no part. A mediocre painting or a quite uninspired piece of sculpture shown in an exhibit is noticed. in the newspapers: the well-designed wall-paper, the fine porcelain or the excellent advertising drawing receives no mention. The painters, almost exclusively, are referred to as artists: the forger of fine wrought-iron or the maker of beautiful furniture, if noticed at all, is not so designated. Education of the public (and of the newspapers which serve them) in a proper understanding of these matters must be our task they must be led to realize that aesthetic enjoyment should be sought for in all kinds of artistic creations and that all who create them are equally artists.

An appreciation of the Arts founded only on reason can, at best, be but a pale pleasure. It is negative, not positive. Reason tells us that an object, to be beautiful, must not violate certain principles, yet gives us no assurance that beauty will result from a strict application of those principles. True beauty defies analysis-being of the spirit it soars above the grasp of intelligence: it may be felt, but not analyzed.

Nevertheless, the ground may be prepared for the growth of aesthetic appreciation of artistic products through knowledge of principles of design and processes of manufacture. In the following pages the various arts are briefly discussed that, as far as is possible in so small a space, the ground may be in part prepared.

In these discussions it is hoped that greater clarity has been obtained by investigating each art as a whole, regardless of nationality, rather than discussing, in turn, the entire artistic output of each country. There is, however, in this procedure a danger that the reader may gain the impression that these arts are interesting merely as mechanical processes rather than as spontaneous expressions of the needs and artistic impulses of the peoples who produced them.

The needs of man- although in modern times they appear to be without limit - are in reality few and more or less the same in all epochs and in every country. Man set his wits to work to supply his needs and the processes he evolved will repay careful study. But what is of greater importance is the artistic quality with which he endowed the work of his hands. This quality, as has been noted, defies analysis; its roots lie deep in some racial inheritance. The ancient Greeks, we know, were supremely sensitive to beauty of form; the races of Asia Minor remarkable for their superb color-sense - why, we cannot say. But it is this phase of these discussions - the social, the racial backgrounds - which should be kept in mind. The products of these craftworkers should be studied not as so many counters in a game of archaeology but as documents of the deepest human interest.

III. A DETAILED SURVEY

I. CERAMIC ART

The art of the potter was developed independently by primitive races in many parts of the world. Clay, the chief ingredient of pottery, is widely distributed over the globe. Pre-historic man (possibly as early as 8000 B.C.) discovered that this material could be moulded when wet and upon drying would retain its shape.

Primitive man scooped out his vessel from a ball of clay; built it up, piece by piece; formed it of a coil built up spirally; or pressed the wet clay into rude moulds. The potter's wheel