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For some time past there has been a good deal of interest shown in what is called
in our modern slang Art Workmanship, and quite recently there has been a growing
feeling that this art workmanship to be of any value must have some of the
workman's individuality imparted to it beside whatever of art it may have got from
the design of the artist who has planned, but not executed the work. This feeling
has gone so far that there is growing up a fashion for demanding handmade goods
even when they are not ornamented in any way, as, for instance, woollen and linen
cloth spun by hand and woven without power, hand-knitted hosiery, and the like.
Nay, it is not uncommon to hear regrets for the hand-labour in the fields, now fast
disappearing from even backward districts of civilized countries. The scythe, the
sickle, and even the flail are lamented over, and many are looking forward with
drooping spirits to the time when the hand-plough will be as completely extinct as
the quern, and the rattle of the steam-engine will take the place of the whistle of
the curly-headed ploughboy through all the length and breadth of the land. People
interested, or who suppose that they are interested, in the details of the arts of
life feel a desire to revert to methods of handicraft for production in general;
and it may therefore be worth considering how far this is a mere reactionary
sentiment incapable of realization, and how far it may foreshadow a real coming
change in our habits of life as irresistible as the former change which has
produced the system of machine-production, the system against which revolt is now
attempted.
In this paper I propose to confine the aforesaid consideration as much as I can to
the effect of machinery versus handicraft upon the arts; using that latter
word as widely as possible, so as to include all products of labour which have any
claims to be considered beautiful. I say as far as possible: for as all roads lead
to Rome, so the life, habits, and aspirations of all groups and classes of the
community are founded on the economical conditions under which the mass of the
people live, and it is impossible to exclude socio-political questions from the
consideration of aesthetics. Also, although I must avow myself a sharer in the
above-mentioned reactionary regrets, I must at the outset disclaim the mere
aesthetic point of view which looks upon the ploughman and his bullocks and his
plough, the reaper, his work, his wife, and his dinner, as so many elements which
compose a pretty tapestry hanging, fit to adorn the study of a contemplative person
of cultivation, but which it is not worth while differentiating from each other
except in so far as they are related to the beauty and interest of the picture. On
the contrary, what I wish for is that the reaper and his wife should have
themselves a due share in all the fulness of life; and I can, without any great
effort, perceive the justice of their forcing me to bear part of the burden of its
deficiencies, so that we may together be forced to attempt to remedy them, and have
no very heavy burden to carry between us.
To return to our aesthetics: though a certain part of the cultivated classes of
to-day regret the disappearance of handicraft from production, they are quite vague
as to how and why it is disappearing, and as to how and why it should or may
reappear. For to begin with the general public is grossly ignorant of all the
methods and processes of manufacture. This is of course one result of the
machine-system we are considering. Almost all goods are made apart from the life of
those who use them; we are not responsible for them, our will has had no part in
their production, except so far as we form part of the market on which they can be
forced for the profit of the capitalist whose money is employed in producing them.
The market assumes that certain wares are wanted; it produces such wares, indeed,
but their kindand quality are only adapted to the needs of the public in a very
rough fashion, because the public needs are subordinated to the interest of the
capitalist masters of the market, and they can force the public to put up with the
less desirable article if they choose, as they generally do. The result is that in
this direction our boasted individuality is a sham; and persons who wish for
anything that deviates ever so little from the beaten path have either to wear away
their lives in a wearisome and mostly futile contest with a stupendous organization
which disregards their wishes, or to allow those wishes to be crushed out for the
sake of a quiet life.
Let us take a few trivial but undeniable examples. You want a hat, say, like that
you wore last year; you go to the hatter's, and find you cannot get it there, and
you have no resource but in submission. Money by itself won't buy you the hat you
want; it will cost you three months' hard labour and twenty pounds to have an inch
added to the brim of your wideawake; for you will have to get hold of a small
capitalist (of whom but few are left), and by a series of intrigues and resolute
actions which would make material for a three-volume novel, get him to allow you to
turn one of his hands into a handicraftsman for the occasion; and a very poor
handicraftsman he will be, when all is said. Again, I carry a walking-stick, and
like all sensible persons like it to have a good heavy-end that will swing out well
before me. A year or two ago it became the fashion to pare away all walking-sticks
to the shape of attenuated carrots, and I really believe I shortened my life in my
attempts at getting a reasonable staff of the kind I was used to, so difficult it
was. Again, you want a piece of furniture, which the trade (mark the word, Trade,
not Craft!) turns out blotched over with idiotic sham ornament; you wish to
dispense with this degradation, and propose it to your upholsterer, who grudgingly
assents to it; and you find that you have to pay the price of two pieces of
furniture for the privilege of indulging your whim of leaving out the trade finish
(I decline to call it ornament) on the one you have got made for you. And this is
because it has been made by handicraft instead of machinery. For most people,
therefore, there is a prohibitive price put upon the acquirement or the knowledge
of methods and processes. We do not know how a piece of goods is made, what the
difficulties are that beset its manufacture, what it ought to look like, feel like,
smell like, or what it ought to cost apart from the profit of the middleman. We
have lost the art of marketing, and with it the due sympathy with the life of the
workshop, which would, if it existed, be such a wholesome check on the humbug of
party politics.
It is a natural consequence of this ignorance of the methods of making wares, that
even those who are in revolt against the tyranny of the excess of division of
labour in the occupations of life, and who wish to recur more or less to
handicraft, should also be ignorant of what that life of handicraft was when all
wares were made by handicraft. If their revolt is to carry any hope with it, it is
necessary that they should know something of this. I must assume that many or
perhaps most of my readers are not acquainted with Socialist literature, and that
few of them have read the admirable account of the different epochs of production
given in Karl Marx' great work entitled `Capital.' I must ask to be excused,
therefore, for stating very briefly what, chiefly owing to Marx, has become a
commonplace of Socialism, but is not generally known outside it. There have been
three great epochs of production since the beginning of the Middle Ages. During the
first or medieval period all production was individualistic in method; for though
the workmen were combined into great associations for production and the
organization of labour, they were so associated as citizens, not as mere workmen.
There was little or no division of labour, and what machinery was used was simply
of the nature of a multiplied tool, a help to the workman's hand-labour and not
asupplanter of it. The workman worked for himself and not for any capitalistic
employer, and he was accordingly master of his work and his time; this was the
period of pure handicraft. When in the latter half of the sixteenth century the
capitalist employer and the so-called free workman began to appear, the workmen
were collected into workshops, the old tool-machines were improved, and at last a
new invention, the division of labour, found its way into the workshops. The
division of labour went on growing throughout the seventeenth century, and was
perfected in the eighteenth, when the unit of labour became a group and not a
single man; or in other words the workman became a mere part of a machine composed
sometimes wholly of human beings and sometimes of human beings plus labour-saving
machines, which towards the end of this period were being copiously invented; the
fly-shuttle may be taken for an example of these. The latter half of the eighteenth
century saw the beginning of the last epoch of production that the world has known,
that of the automatic machine which supersedes hand-labour, and turns the workman
who was once a handicraftsman helped by tools, and next a part of a machine, into a
tender of machines. And as far as we can see, the revolution in this direction as
to kind is complete, though as to degree, as pointed out by Mr. David A. Wells last
year (1887), the tendency is towards the displacement of ever more and more
`muscular' labour, as Mr. Wells calls it.
This is very briefly the history of the evolution of industry during the last five
hundred years; and the question now comes: Are we justified in wishing that
handicraft may in its turn supplant machinery? Or it would perhaps be better to put
the question in another way. Will the period of machinery evolve itself into a
fresh period of machinery more independent of human labour than anything we can
conceive of now, or will it develop its contradictory in the shape of a new and
improved period of production by handicraft? The second form of the question is the
preferable one, because it helps us to give a reasonable answer to what people who
have any interest in external beauty will certainly ask: Is the change from
handicraft to machinery good or bad? And the answer to that question is to my mind
that, as my friend Belfort Bax has put it, statically it is bad, dynamically it is
good. As a condition of life, production by machinery is altogether an evil; as an
instrument for forcing on us better conditions of life it has been, and for some
time yet will be, indispensable.
Having thus tried to clear myself of mere reactionary pessimism, let me attempt to
show why statically handicraft is to my mind desirable, and its destruction a
degradation of life. Well, first I shall not shrink from saying bluntly that
production by machinery necessarily results in utilitarian ugliness in everything
which the labour of man deals with, and that this is a serious evil and a
degradation of human life. So clearly is this the fact that though few people will
venture to deny the latter part of the proposition, yet in their hearts the greater
part of cultivated civilized persons do not regard it as an evil, because their
degradation has already gone so far that they cannot, in what concerns the sense of
seeing, discriminate between beauty and ugliness: their languid assent to the
desirableness of beauty is with them only a convention, a superstitious survival
from the times when beauty was a necessity to all men. The first part of the
proposition (that machine-industry produces ugliness) I cannot argue with these
persons, because they neither know, nor care for, the difference between beauty and
ugliness; and with those who do understand what beauty means I need not argue it,
as they are but too familiar with the fact that the produce of all modern
industrialism is ugly, and that whenever anything which is old disappears, its
place is taken by something inferior to it in beauty; and that even out in the very
fields and open country. The art of making beautifully all kinds of ordinary
things, carts, gates, fences, boats, bowls, and so forth, let alone houses and
public buildings, unconsciously and without effort, has gone;when anything has to
be renewed among these simple things the only question asked is how little it can
be done for, so as to tide us over our responsibility and shift its mending on to
the next generation.
It may be said, and indeed I have heard it said, that since there is some beauty
still left in the world and some people who admire it, there is a certain gain in
the acknowledged eclecticism of the present day, since the ugliness which is so
common affords a contrast whereby beauty, which is so rare, may be appreciated.
This I suspect to be only another form of the maxim which is the sheet-anchor of
the laziest and most cowardly group of our cultivated classes, that it is good for
the many to suffer for the few; but if any one puts forward in good faith the fear
that we may be too happy in the possession of pleasant surroundings, so that we
shall not be able to enjoy them, I must answer that this seems to me a very remote
terror. Even when the tide at last turns in the direction of sweeping away modern
squalor and vulgarity, we shall have, I doubt, many generations of effort in
perfecting the transformation, and when it is at last complete, there will be first
the triumph of our success to exalt us, and next the history of the long wade
through the putrid sea of ugliness which we shall have at last escaped from. But
furthermore, the proper answer to this objection lies deeper than this. It is to my
mind that very consciousness of the production of beauty for beauty's sake which we
want to avoid; it is just what is apt to produce affectation and effeminacy amongst
the artists and their following. In the great times of art conscious effort was
used to produce great works for the glory of the City, the triumph of the Church,
the exaltation of the citizens, the quickening of the devotion of the faithful;
even in the higher art, the record of history, the instruction of men alive and to
live hereafter, was the aim rather than beauty; and the lesser art was unconscious
and spontaneous, and did not in any way interfere with the rougher business of
life, while it enabled men in general to understand and sympathize with the nobler
forms of art. But unconscious as these producers of ordinary beauty may be, they
will not and cannot fail to receive pleasure from the exercise of their work under
these conditions, and this above all things is that which influences me most in my
hope for the recovery of handicraft. I have said it often enough, but I must say it
once again, since it is so much a part of my case for handicraft, that so long as
man allows his daily work to be mere unrelieved drudgery he will seek happiness in
vain. I say further that the worst tyrants of the days of violence were but feeble
tormentors compared with those Captains of Industry who have taken the pleasure of
work away from the workmen. Furthermore I feel absolutely certain that handicraft
joined to certain other conditions, of which more presently, would produce the
beauty and the pleasure in work above mentioned; and if that be so, and this double
pleasure of lovely surroundings and happy work could take the place of the double
torment of squalid surroundings and wretched drudgery, have we not good reason for
wishing, if it might be, that handicraft should once more step into the place of
machine-production?
I am not blind to the tremendous change which this revolution would mean. The maxim
of modern civilization to a well-to-do man is, Avoid taking trouble! Get as many of
the functions of your life as you can performed by others for you! Vicarious life
is the watchword of our civilization, and we well-to-do and cultivated people live
smoothly enough while it lasts. But, in the first place, how about the vicars, who
do more for us than the singing of mass for our behoof for a scanty stipend? Will
they go on with it for ever? For indeed the shuffling off of responsibilities from
one to the other has to stop at last, and somebody has to bear the burden in the
end. But let that pass, since I am not writing politics, and let us consider
another aspect of the matter. What wretched lop-sided creatureswe are being made by
the excess of the division of labour in the occupations of life! What on earth are
we going to do with our time when we have brought the art of vicarious life to
perfection, having first complicated the question by the ceaseless creation of
artificial wants which we refuse to supply for ourselves? Are all of us (we of the
great middle class I mean) going to turn philosophers, poets, essayists - men of
genius, in a word, when we have come to look down on the ordinary functions of life
with the same kind of contempt wherewith persons of good breeding look down upon a
good dinner, eating it sedulously however? I shudder when I think of how we shall
bore each other when we have reached that perfection. Nay, I think we have already
got in all branches of culture rather more geniuses that we can comfortably bear,
and that we lack, so to say, audiences rather than preachers. I must ask pardon of
my readers, but our case is at once so grievous and so absurd that one can scarcely
help laughing out of bitterness of soul. In the very midst of our pessimism we are
boastful of our wisdom, yet we are helpless in the face of the necessities we have
created, and which, in spite of our anxiety about art, are at present driving us
into luxury unredeemed by beauty on the one hand, and squalor unrelieved by
incident or romance on the other, and will one day drive us into mere ruin.
Yes, we do sorely need a system of production which will give us beautiful
surroundings and pleasant occupation, and which will tend to make us good human
animals, able to do something for ourselves, so that we may be generally
intelligent instead of dividing ourselves into dull drudges or duller
pleasure-seekers according to our class, on the one hand, or hapless pessimistic
intellectual personages, and pretenders to that dignity, on the other. We do most
certainly need happiness in our daily work, content in our daily rest; and all this
cannot be if we hand over the whole responsibility of the details of our daily life
to machines and their drivers. We are right to long for intelligent handicraft to
come back to the world which it once made tolerable amidst war and turmoil and
uncertainty of life, and which it should, one would think, make happy now we have
grown so peaceful, so considerate of each other's temporal welfare.
Then comes the question, How can the change be made? And here at once we are met by
the difficulty that the sickness and death of handicraft is, it seems, a natural
expression of the tendency of the age. We willed the end, and therefore the means
also. Since the last days of the Middle Ages the creation of an intellectual
aristocracy has been, so to say, the spiritual purpose of civilization side by side
with its material purpose of supplanting the aristocracy of status by the
aristocracy of wealth. Part of the price it has had to pay for its success in that
purpose (and some would say it is comparatively an insignificant part) is that this
new aristocracy of intellect has been compelled to forgo the lively interest in the
beauty and romance of life, which was once the portion of every artificer at least,
if not of every workman, and to live surrounded by an ugly vulgarity which the
world amidst all its changes has not known till modern times. It is not strange
that until recently it has not been conscious of this degradation; but it may seem
strange to many that it has now grown partially conscious of it. It is common now
to hear people say of such and such a piece of country or suburb: `Ah! it was so
beautiful a year or so ago, but it has been quite spoilt by the building.' Forty
years back the building would have been looked on as a vast improvement; now we
have grown conscious of the hideousness we are creating, and we go on creating it.
We see the price we have paid for our aristocracy of intellect, and even that
aristocracy itself is more than half regretful of the bargain, and would be glad if
it could keep the gain and not pay the full price for it. Hence not only the empty
grumbling about the continuous march of machinery over dying handicraft, but also
various elegant littleschemes for trying to withdraw ourselves, some of us, from
the consequences (in this direction) of our being superior persons; none of which
can have more than a temporary and very limited success. The great wave of
commercial necessity will sweep away all these well-meant attempts to stem it, and
think little of what it has done, or whither it is going.
Yet after all even these feeble manifestations of discontent with the tyranny of
commerce are tokens of a revolutionary epoch, and to me it is inconceivable that
machine-production will develop into mere infinity of machinery, or life wholly
lapse into a disregard of life as it passes. It is true indeed that powerful as the
cultivated middle class is, it has not the power of recreating the beauty and
romance of life; but that will be the work of the new society which the blind
progress of commercialism will create, nay, is creating. The cultivated middle
class is a class of slave-holders, and its power of living according to its choice
is limited by the necessity of finding constant livelihood and employment for the
slaves who keep it alive. It is only a society of equals which can choose the life
it will live, which can choose to forgo gross luxury and base utilitarianism in
return for the unwearying pleasure of tasting the fulness of life. It is my firm
belief that we shall in the end realize this society of equals, and also that when
it is realized it will not endure a vicarious life by means of machinery; that it
will in short be the master of its machinery and not the servant, as our age is.
Meantime, since we shall have to go through a long series of social and political
events before we shall be free to choose how we shall live, we should welcome even
the feeble protest with is now being made against the vulgarization of all life:
first because it is one token amongst others of the sickness of modern
civilization; and next, because it may help to keep alive memories of the past
which are necessary elements of the life of the future, and methods of work which
no society could afford to lose. In short, it may be said that though the movement
towards the revival of handicraft is contemptible on the surface in face of the
gigantic fabric of commercialism, yet, taken in conjunction with the general
movement towards freedom of life for all, on which we are now surely embraced, as a
protest against intellectual tyranny, and a token of the change which is
transforming civilization into socialism, it is both noteworthy and encouraging.
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The Market has received support and
backing from the Moroccan Ministry of Artisan Affairs, the Moroccan
Ministry of Tourism, and the Moroccan Ambassdor to the UK, Princess
Lalla Joumala (cousin to the King of Morocco). This reflects the growing
importance of relationships between the UK and Morocco.
