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 demands of a higher and nobler nature have become imperative. This condition manifests itself both by a quickening of the masses—a dim longing in the heart of humanity—and a peculiar activity of those whom we call artists, for short. The leaven is at work. Slowly mass-consciousness becomes aware of needs that rise above the strictly utilitarian. Gradually the laws of beauty, the principles of subdued adornment, become insistent, and, thanks to them, language assumes finer qualities and subtler graces.

In admitting this statement as true, there is no occasion for anybody to presume superiority of viewpoint. The attitude of the crasser majority is as logical as is that of the more cultured minority. Both positions are natural, and their underlying principles may readily be discovered. But when an architect, for instance, emphasizes in his work only the features of its primitive requirements, he frankly lowers his profession to the trade of the builder. So, when the author argues by