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WILLIAM MORRIS 149
that much of the greatest art has been produced
anonymously and collectively and we
;
be sure that Glutton Brock shares his
may
dislike for that worship of names, that interest
in catalogues and biographies, which amongst
the collecting classes still does duty for
aesthetic
sensibility. Morris was indignant, as
well he might be, when he heard the pictures
of some famous artist famous because he
signed his name and left some record of his
life exalted above the sculpture and windows
of Chartres the work of obscure stone-cutters
and verriers. He loved the mediaeval craftsmen
for the fineness of their work and for
their personal modesty. He liked to think of
men who could take their orders from a contremaitre
and execute them superbly, partly,
I think, because he saw that these were men
who could be fitted into his ideal State. And
Mr. Glutton Brock, good Socialist that he is,
must, I suppose, himself have been perplexed
by that problem which confronts every modern
is to be done about
State-projector : What
the artists ? How are these strange, turbu-
lent, individualistic creatures to be fitted
into any rational collectivism ? What place
can be found in Utopia for people who do not
work to live, but live to do what they consider
their own peculiar piece of work ? Now, if
only they were craftsmen, they would make