the temptation to make it imitate some other material, thus losing
its individuality by a contortion which may be curious and interesting,
but out of place. We all enjoy seeing acrobats on the stage, but it
would be painful to see them curling in and out of our drawing-room
chairs.

The true spirit which the Arts and Crafts is trying to inculcate
was found in Florence when the great artists turned their attention
to the manipulation of objects of daily use, Benvenuto Cellini being
willing to make salt-cellars, and Sansovino to work on inkstands, and
Donatello on picture frames, while Pollajuolo made candlesticks.
The more our leading artists realize the need of their attention
in the minor arts, the more nearly shall we attain to a genuine
alliance between the arts and the crafts.

To sum up the effect of this harmony between art and craft in the
Middle Ages, the Abbé Texier has said: "In those days art and
manufactures were blended and identified; art gained by this affinity
great practical facility, and manufacture much original beauty."
And then the value to the artist is almost incalculable. To spend
one's life in getting means on which to live is a waste of all
enjoyment. To use one's life as one goes along--to live every day
with pleasure in congenial occupation--that is the only thing worth
while. The life of a craftsman is a constant daily fulfilment of
the final ideal of the man who spends all his time and strength
in acquiring wealth so that some time (and he may never live to
see the day) he may be able to control his time and to use it as
pleases him. There is stored up capital represented in the life
of a man whose work is a recreation, and expressive of his own
personality.