knows nothing of the web or vase he sells, except that he is
charging you double its value and thinking you a fool for buying
it. Nor can I but just note, in passing, the immense influence the
decorative work of Greece and Italy had on its artists, the one
teaching the sculptor that restraining influence of design which is
the glory of the Parthenon, the other keeping painting always true
to its primary, pictorial condition of noble colour which is the
secret of the school of Venice; for I wish rather, in this lecture
at least, to dwell on the effect that decorative art has on human
life - on its social not its purely artistic effect.

There are two kinds of men in the world, two great creeds, two
different forms of natures: men to whom the end of life is action,
and men to whom the end of life is thought. As regards the latter,
who seek for experience itself and not for the fruits of
experience, who must burn always with one of the passions of this
fiery-coloured world, who find life interesting not for its secret
but for its situations, for its pulsations and not for its purpose;
the passion for beauty engendered by the decorative arts will be to
them more satisfying than any political or religious enthusiasm,
any enthusiasm for humanity, any ecstasy or sorrow for love. For
art comes to one professing primarily to give nothing but the
highest quality to one's moments, and for those moments' sake. So
far for those to whom the end of life is thought. As regards the
others, who hold that life is inseparable from labour, to them
should this movement be specially dear: for, if our days are
barren without industry, industry without art is barbarism.

Hewers of wood and drawers of water there must be always indeed
among us. Our modern machinery has not much lightened the labour