No More Learning

There are tellers of stories in Russia who have a more vivid sense of
what pain in fiction may be. But to him belongs philosophy in fiction.
His people not merely live, but they live in thought. One can see them
from myriad points of view. They are suggestive. There is soul in them
and around them. They are interpretative and symbolic. And he who made
them, those wonderful quickly-moving figures, made them for his own
pleasure, and has never asked the public what they wanted, has never
cared to know what they wanted, has never allowed the public to dictate
to him or influence him in any way, but has gone on intensifying his own
personality, and producing his own individual work. At first none came
to him. That did not matter. Then the few came to him. That did not
change him. The many have come now. He is still the same. He's an
incomparable novelist.
With the decorative arts it is not different. The public clung with
really pathetic tenacity to what I believe were the direct traditions of
the Great Exhibition of international vulgarity, traditions that were so
appalling that the houses in which people lived were only fit for blind
people to live in. Beautiful things began to be made, beautiful colours
came from the dyer's hand, beautiful patterns from the artist's brain,
and the use of beautiful things and their value and importance were set
forth. The public were really very indignant. They lost their temper.
They said silly things. No one minded. No one was a whit the worse. No
one accepted the authority of public opinion. And now it is almost
impossible to enter any modern house without seeing some recognition of
good taste, some recognition of the value of lovely surroundings, some
sign of appreciation of beauty. In fact, people's houses are, as a rule,
quite charming nowadays. People have been to a very great extent
civilised. It is only fair to state, however, that the extraordinary
success of the revolution in house-decoration and furniture and the like
has not really been due to the majority of the public developing a very
fine taste in such matters. It has been chiefly due to the fact that the
craftsmen of things so appreciated the pleasure of making what was
beautiful, and woke to such a vivid consciousness of the hideousness and
vulgarity of what the public had previously wanted, that they simply
starved the public out. It would be quite impossible at the present
moment to furnish a room as rooms were furnished a few years ago,
without going for everything to an auction of second-hand furniture from
some third-rate lodging-house. The things are no longer made.