States that the English are an inherently commercial people and this has impacted on how art is practiced and marketed. That "socialistic spirit" will have to be fully developed if public wall painting is to thrive. Raises the Westminster frescos as a totem of failure in public perception. Complains of the prevailing state of city climates. Enters into a rangy meditation on universal cultural truth and the relative natures of Nationalism, Socialism, Individualism and Cosmopolitanism. Asserts that the state of the air now precludes the use of sculpture on the exterior of buildings, it should move inside and become polychromatic, name checks
Gilbert and
Onslow Ford as proponents, also
Swan. Raises
Bates,
Simonds among a new generation of the
Art-Workers Guild. The letter breaks off at the point he begins to discuss mosaic.