February literary salon

You are most cordially invited to join me at my monthly salon, Tuesday 19 February at 5pm SLT, at Ormsby Hall, Caledon Murdann.

The discussion this month will draw upon selections from the writings of William Morris.

Yrs, &c.

Otenth Paderborn

Free THiNC book available through shop.onrez.com or on the dock in Caledon Murdann.


Delivered before the Trades’ Guild of Learning, December 4, 1877

Everything made by man’s hands has a form, which must be either beautiful or ugly; beautiful if it is in accord with Nature, and helps her; ugly if it is discordant with Nature, and thwarts her; it cannot be indifferent: we, for our parts, are busy or sluggish, eager or unhappy, and our eyes are apt to get dulled to this eventfulness of form in those things which we are always looking at. Now it is one of the chief uses of decoration, the chief part of its alliance with nature, that it has to sharpen our dulled senses in this matter: for this end are those wonders of intricate patterns interwoven, those strange forms invented, which men have so long delighted in: forms and intricacies that do not necessarily imitate nature, but in which the hand of the craftsman is guided to work in the way that she does, till the web, the cup, or the knife, look as natural, nay as lovely, as the green field, the river bank, or the mountain flint.
To give people pleasure in the things they must perforce USE, that is one great office of decoration; to give people pleasure in the things they must perforce MAKE, that is the other use of it.
Does not our subject look important enough now? I say that without these arts, our rest would be vacant and uninteresting, our labour mere endurance, mere wearing away of body and mind.

Is money to be gathered? cut down the pleasant trees among the houses, pull down ancient and venerable buildings for the money that a few square yards of London dirt will fetch; blacken rivers, hide the sun and poison the air with smoke and worse, and it’s nobody’s business to see to it or mend it: that is all that modern commerce, the counting-house forgetful of the workshop, will do for us herein.
And Science–we have loved her well, and followed her diligently, what will she do? I fear she is so much in the pay of the counting- house, the counting-house and the drill-sergeant, that she is too busy, and will for the present do nothing. Yet there are matters which I should have thought easy for her; say for example teaching Manchester how to consume its own smoke, or Leeds how to get rid of its superfluous black dye without turning it into the river, which would be as much worth her attention as the production of the heaviest of heavy black silks, or the biggest of useless guns. Anyhow, however it be done, unless people care about carrying on their business without making the world hideous, how can they care about Art? I know it will cost much both of time and money to better these things even a little; but I do not see how these can be better spent than in making life cheerful and honourable for others and for ourselves; and the gain of good life to the country at large that would result from men seriously setting about the bettering of the decency of our big towns would be priceless, even if nothing specially good befell the arts in consequence: I do not know that it would; but I should begin to think matters hopeful if men turned their attention to such things, and I repeat that, unless they do so, we can scarcely even begin with any hope our endeavours for the bettering of the arts.


Delivered before the Birmingham Society of Arts and School of Design, February 19, 1879

If I could only persuade you of this, that the chief duty of the civilised world to-day is to set about making labour happy for all, to do its utmost to minimise the amount of unhappy labour–nay, if I could only persuade some two or three of you here present–I should have made a good night’s work of it.

it is not possible to dissociate art from morality, politics, and religion. Truth in these great matters of principle is of one, and it is only in formal treatises that it can be split up diversely.


Delivered before the Birmingham Society of Arts and School of Design, February 19, 1880

Believe me, if we want art to begin at home, as it must, we must clear our houses of troublesome superfluities that are for ever in our way: conventional comforts that are no real comforts, and do but make work for servants and doctors: if you want a golden rule that will fit everybody, this is it:
And if we apply that rule strictly, we shall in the first place show the builders and such-like servants of the public what we really want, we shall create a demand for real art, as the phrase goes; and in the second place, we shall surely have more money to pay for decent houses.
Perhaps it will not try your patience too much if I lay before you my idea of the fittings necessary to the sitting-room of a healthy person: a room, I mean, in which he would not have to cook in much, or sleep in generally, or in which he would not have to do any very litter-making manual work.
First a book-case with a great many books in it: next a table that will keep steady when you write or work at it: then several chairs that you can move, and a bench that you can sit or lie upon: next a cupboard with drawers: next, unless either the book-case or the cupboard be very beautiful with painting or carving, you will want pictures or engravings, such as you can afford, only not stop-gaps, but real works of art on the wall; or else the wall itself must be ornamented with some beautiful and restful pattern: we shall also want a vase or two to put flowers in, which latter you must have sometimes, especially if you live in a town. Then there will be the fireplace of course, which in our climate is bound to be the chief object in the room.
That is all we shall want, especially if the floor be good; if it be not, as, by the way, in a modern house it is pretty certain not to be, I admit that a small carpet which can be bundled out of the room in two minutes will be useful, and we must also take care that it is beautiful, or it will annoy us terribly.
Now unless we are musical, and need a piano (in which case, as far as beauty is concerned, we are in a bad way), that is quite all we want: and we can add very little to these necessaries without troubling ourselves, and hindering our work, our thought, and our rest.
If these things were done at the least cost for which they could be done well and solidly, they ought not to cost much; and they are so few, that those that could afford to have them at all, could afford to spend some trouble to get them fitting and beautiful: and all those who care about art ought to take great trouble to do so, and to take care that there be no sham art amongst them, nothing that it has degraded a man to make or sell. And I feel sure, that if all who care about art were to take this pains, it would make a great impression upon the public.