H ouse and Garden 
Japanese are a striking example of the truth of this 
idea, but so far are we from a similar state, that the 
first quality that attracts notice in the Japanese 
craftsman is his facility for decoration. A kimono, 
for instance, may bear a trail of exquisite needle¬ 
work, hut that is not nearly so attractive artistically 
as the marvellous skill with which its lining is sewn 
into it, in such a manner that while holding perfect¬ 
ly firm, it can be ripped out in a few moments for 
washing; and it is doubtful whether the delicate 
cleanliness which dictates this ingenuity is not a 
greater proof of innate artistic feeling than the un¬ 
erring skill shown in the decoration. 1 his feeling, 
which is manifested in hundreds of ways, isdemocrat- 
ic; it is possessed by the meanest workers and per¬ 
vades their humblest productions. 
Unfortunately such feeling is becoming less and 
less apparent among Western workmen, peasant art 
and handicraft is almost dead, and there is no demo¬ 
cratic art. The taste of the working classes is just 
as evil as that of the middle classes, which is putting 
the case stronger. It is very rare to find a man who 
cares to practice even a craft by which he earns his 
living, for the benefit of his own home. Nor are 
there any signs that the Arts and Crafts Society has 
succeeded in arresting this array of democratic art. 
The present exhibition is almost entirely dilettante 
in character; it is an exhibition of beautiful, luxu¬ 
rious and costly things, for luxurious and wealthy 
people. I here is practically nothing made for, or 
by, the working classes. There is work carried out 
by working men in plenty, all kinds of it come, for 
instance, from the Guild of Handicrafts, but the god 
behind the machine is Air. Charles R. Ashbee, and it 
is safe to say that without the years he has devoted 
to helping, teaching and inspiring working men, 
few of those exhibits would be there. The influence, 
valuable though it be, comes from above not below. 
Another failure, or an¬ 
other aspect of the same 
failure, is the tendency to 
over-decoration, a sure sign 
of the prevalence of dilet¬ 
tantism. One has an uncom¬ 
fortable feeling that people 
have been learning to leave 
metal, or wood, or leather 
and have then had to cast 
about for something to put it 
on. That they have, in short, 
got hold of the wrong end of 
the stick, and that it is not 
so much in the making of 
things as in their decoration 
that handicraft has found its 
outlet. However, when cav¬ 
illing at generalities is done, 
it is pleasant to find that 
there is so much to praise 
that it is impossible to give 
even the smallest mite of 
honor everywhere that honor 
is due. To begin with, the 
new quarters of the Society 
have proved a most success¬ 
ful device; and the immense 
difficulties of hanging and 
placing have been overcome 
with great success, both as 
regards individual exhibits 
and the general aspect of the 
rooms. The large gallery is 
decorated all round by the 
frieze painted by Air. Walter 
Crane for the British Section 
at the St. Louis Exhibition and 
lent for its present purpose. 
DRESSER DESIGNED BY MR. W. R. LETHABY, PAINTED BY MR. ALFRED H. POWELL. 
THE POTTERY, BY MR. LETHABY, EXECUTED BY JOSIAH WEDGWOOD & SONS 
212 
