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 a little decorative work in which would at least improve a few square inches of the monstrosity, and acted accordingly. What would, in effect, be said to him?

The architect would say, "Clear out! That wasn't in my design." To a certain extent a justifiable remark in a day when we have a totally false conception of the real nature of architecture. But the essential and fundamental remark would be that of the contractor: "My man, I tendered so much for this job. The main thing for me to do is to get it done as cheaply as possible. I don't pay you to waste your time (and, consequently, my money) on anything that isn't in the contract."

I give this merely as an illustration of what I am trying to convey; of course, to suggest that a square foot of decoration on the building in question would look anything but ridiculous is the last thing I should urge. But the whole attitude of Capital towards the aesthetic aspect of things may be summed up in a few words: "Art be damned, if it isn't in the contract." Under a competitive commercial system, where cheapness is the Holy Grail, almost every single thing you can think of is bound to be a triumph of ugliness. For the beautifying of work means the expenditure of a certain amount of the workman's time, and if one firm tried this the others would undersell it with cheaper though uglier articles; and, with things as they are, few men can afford to reject the cheaper in favour of the dearer if they both equally well serve the primary material purpose for which they have been made.

That is where the masses stand as far as concerns any possibility of getting artistic enjoyment as part and parcel of their daily life. But how does Capitalism treat those rare ones who are born with exceptional gifts? How far is genius allowed to travel untrammelled along its own peculiar lines. And this, perhaps, is the crux of the whole matter, for it is in connection with the fate of the individual artist that the hottest attacks from this quarter are made.

Our opponents lay down three dicta: That the artist must be free from the burden of extraneous work, and that he would not be so under Socialism; that he must be given the necessary means to live a decent life, and that he would not get them under Socialism; that the taste of a whole population is bound to be bad, and that under a Socialistic régime the bad artists would be encouraged and the good ones go all unheeded.