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themselves, can far outstrip any work that is done under cold compulsion, with respect both to variety and to power. People look at a Gothic church and come away sighing and complaining that the race of builders has vanished from the face of the earth. But they forget that the conditions of employment have changed. In these days the architect is hampered by a desire for cheapness, and the subordinate workman's individuality counts for nothing. In those bygone centuries the architect was allowed very much of a free hand, provided he turned out a beautiful structure. Money was a very small consideration, and time no consideration at all. Above all, matters of detail were left to the individual mason. Consequently, in every nook and corner of these buildings, we find odd bits of wonderful work, beautiful or grotesque, each expressive of some idea in some one man's mind. Then there was a rich variety: now there is a meagre uniformity.
Thus much for the Middle Ages and the artistic instincts of the people generally; it remains to be added that the more gifted individuals, the geniuses, were better looked after than ever before or since. There was a certain tradition of art patronage amongst the nobles; but an enormous amount of it was done by the monasteries and the various corporations of the towns, pious and otherwise. Wherever you had any noticeable number of men gathered together, they welcomed and gladly employed any man who showed signs of genius. In fact, the gifted child of working-class parents has never been so carefully helped as he was in that age. It is a striking thing that almost all the great mediæval artists came from the lower classes—a sufficient testimony both to the fact that taste was widespread and that there was a corresponding general eagerness to encourage genius. When all men are economically free, or even partially so, culture is bound to be far more general than it ever can be in a population mainly composed of wage-slaves or chattel-slaves; and when culture is general, genius will never be neglected.
We come to Capitalism. Instead of looking back, we will look around. Once more we will see how Art fares in these two great respects: How far is the general artistic instinct of the people given free play, and how far is the individual genius encouraged to exercise his powers to the fullest? As we said before, the two things are bound to stand or fall together, but we may take them separately, nevertheless.
As far as the ordinary worker is concerned, it is not too much to say that he is altogether debarred from making his products
