factors, instead of two. It aims at the correlation of productive work, beautiful forms, and, to some extent, pleasurable exertion. Its representatives would unite workshop, studio and playroom. More important still, they have realized in an indefinite and as yet often very imperfect way, that the basis of any social movement must be the fundamental productive process. Therefore they have begun their work in connection with that process. Nevertheless, this movement, also, in many ways, is fundamentally defective. One of its defects is that among the social factors which we have enumerated (and our classification makes no pretense of being exhaustive), the handicrafts movement neglects the educational factor. Save through occasional lectures, publications, exhibitions, and a few apprentices, it does little educational work. It bears little effective relation to the great formative forces that are really determining the minds of future generations.
The problem before him who would make modern society "artistic" is so to
