essentially a place for the woman and the child; yet the needs of woman
and child are not expressed in our domestic architecture. The home is
built on lines of ancient precedent, mainly as an industrial form; the
kitchen is its working centre rather than the nursery.

Each man wishes his home to preserve and seclude his woman, his little
harem of one; and in it she is to labor for his comfort or to manifest
his ability to maintain her in idleness. The house is the physical
expression of the limitations of women; and as such it fills the world
with a small drab ugliness. A dwelling house is rarely a beautiful
object. In order to be such, it should truly express simple and natural
relations; or grow in larger beauty as our lives develop.

The deadlock for architectural progress, the low level of our general
taste, the everlasting predominance of the commonplace in buildings, is
the natural result of the proprietary family and its expression in this
form.

In sculpture we have a noble art forcing itself into some service
through many limitations. Its check, as far as it comes under this line
of study, has been indicated in our last chapter; the degradation of the
human body, the vicious standards of sex-consciousness enforced under
the name of modesty, the covered ugliness, which we do not recognize,
all this is a deadly injury to free high work in sculpture.

With a nobly equal womanhood, stalwart and athletic; with the high
standards of beauty and of decorum which we can never have without free
womanhood; we should show a different product in this great art.

An interesting note in passing is this: when we seek to express socially