Chapter 6

“Beauty could and should be combined with economy and utility in all our industrial products; beauty was indeed a great element of utility; the trade of France was founded upon the beauty of that which it produces, and the economical application of means to ends; and that is due to the long culture and traditional application of the national mind to beauty in their products. The human nature in which we are cast was not endowed with all its marvellous faculties for nothing, and it is the due development of those faculties that constitutes the true and full idea of the duty of man in this world. It has been too much the habit in this country to regard beauty of production as something quite apart from usefulness of production, and at the same time to look upon the beauty which may result from human labour as a luxury reserved for the rich alone. But beauty has a commercial value, and its multiplication should form part of human education. We are all still at school, both young and old. We should then endeavour to work all things into beautiful forms, as did the ancient Greeks, so that artistic skill and love of the beautiful became an inheritance with them, formed part of their nature, accompanied their daily life, and entered into every kind of production. This is a time when all who are concerned in the welfare of the country feel it to be desirable that efforts should be made to give instruction, so as to improve the knowledge of the British artistic workman, and enable him to hold his position in the markets of the world. I confess,” said Mr Gladstone, “I should like to see a great deal of this work done by the London Companies. That they should strive to make themselves illustrious in the country by fulfilling the purpose for which they were founded, namely, developing the crafts, trades, and mysteries of this great country (as the Society of Arts has laboured to do for so many long years) to promote beauty and economy in the production of works of industry. But I believe,” Mr Gladstone continued, “that it is really in the individual that the secret of the whole matter lies. It is not as a body that you fill the benches of this room; you are here as individuals, and it is your thoughts and convictions, your own resolute efforts to improve, and energetically to direct your labours to the attainment of the highest end that constitutes the real resource to which we have to look. No auxiliaries can supplant, they can only aid individual exertion. Eachindividual worker may have a notion of doing his work in the way which is most useful, but he ought also to have a sense of the difference between what is more useful and less useful, and what is more beautiful and the less beautiful. Now the sense of beauty is not, under natural circumstances, the favoured inheritance of a few only, it is meant to be, should be, and may be the universal inheritance of civilised mankind. It ought, therefore, to be the aim of the humblest artisan to acquire by study and thought such a sense of beauty as may elevate the character of the work he performs. And it will at the same time be found that as he developes beauty in his work he will raise his self-respect, he will raise himself, his family, and his class infinitely more than by any effort to get out of his position, either for himself or his children.”

I trust I shall be excused for making this long extract from Mr Gladstone’s speech, but it expresses so much and in such true and kindly language, that I felt I ought to add his well-considered words to my History of the Art of Coachbuilding.

The fine series of photographs of State and other Carriages, and the valuable library of the Coach and Coach-harness Makers Company are open every Saturday afternoon. Tickets of admission may be obtained at the principal Coachbuilders of London.

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FOOTNOTES:[1]Who goes softly, goes safely.[2]See cover of this book for the shape of a coach of this period, and also Plate 22.[3]Plate 26shows a Roman Coach.[4]There are several wonderful specimens at Lisbon, Photographs of which are in the writer’s possession.[5]An analysis of the sale of Messrs Cook and Rowley’s stock in 1830, and Messrs Hobson’s stock in 1838, shows the proportions of 70 chariots, 60 coaches and landaus, 32 barouches and briskas, 12 cabs, 6 mail phaetons. Total, 180.[6]SeePlate 34for a similar stage coach.[7]By Sir Walter Scott—preface to a novel.[8]Here we have the French name of diligence instead of stage coach.[9]From a Newspaper, April 23, 1823:—“Cabriolets were, in honour of his Majesty’s birthday, introduced to the public this morning. They are built to hold two persons inside besides the driver (who is partitioned off from his company), and are furnished with a book of fares for the use of the public, to prevent the possibility of imposition. These books will be found in a pocket hung inside the head of the cabriolet. The fares are one-third less than hackney coaches.”

FOOTNOTES:

[1]Who goes softly, goes safely.

[2]See cover of this book for the shape of a coach of this period, and also Plate 22.

[3]Plate 26shows a Roman Coach.

[4]There are several wonderful specimens at Lisbon, Photographs of which are in the writer’s possession.

[5]An analysis of the sale of Messrs Cook and Rowley’s stock in 1830, and Messrs Hobson’s stock in 1838, shows the proportions of 70 chariots, 60 coaches and landaus, 32 barouches and briskas, 12 cabs, 6 mail phaetons. Total, 180.

[6]SeePlate 34for a similar stage coach.

[7]By Sir Walter Scott—preface to a novel.

[8]Here we have the French name of diligence instead of stage coach.

[9]From a Newspaper, April 23, 1823:—“Cabriolets were, in honour of his Majesty’s birthday, introduced to the public this morning. They are built to hold two persons inside besides the driver (who is partitioned off from his company), and are furnished with a book of fares for the use of the public, to prevent the possibility of imposition. These books will be found in a pocket hung inside the head of the cabriolet. The fares are one-third less than hackney coaches.”

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