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 formative portion of the work, and the faiences of most European countries offer more artistic results to us than do the more scientifically compounded porcelains. In the former case the native clay seemed more easily to ally itself with native art, to record more of current history, to create artistic genius rather than to be content with attempting to copy misunderstood efforts of other peoples and other times. But when science ransacked the earth for foreign bodies and ingredients, foreign decorative ideas came with them and Fictile Art was no more a vernacular one. It attempted to disguise itself, to show the craftsman superior to the artist; and then came the Manufacturer and the reign of quantity over quality, the casting in moulds by the gross and the printing by the thousands. Be it understood these remarks only apply to 64