Section 8

We should go towards the Schoellenen gorge, and as we went, our fresh morning senses would gather together a thousand factors for our impression of this more civilised world. A Modern Utopia will have done with yapping about nationality, and so the ugly fortifications, the barracks and military defilements of the earthly vale of Urseren will be wanting. Instead there will be a great multitude of gracious little houses clustering in college–like groups, no doubt about their common kitchens and halls, down and about the valley slopes. And there will be many more trees, and a great variety of trees—all the world will have been ransacked for winter conifers. Despite the height of the valley there will be a double avenue along the road. This high road with its tramway would turn with us to descend the gorge, and we should hesitate upon the adventure of boarding the train. But now we should have the memory of our landlord's curious eye upon us, and we should decide at last to defer the risk of explanations such an enterprise might precipitate.

We should go by the great road for a time, and note something of the difference between Utopian and terrestrial engineering.

The tramway, the train road, the culverts, and bridges, the Urnerloch tunnel, into which the road plunges, will all be beautiful things.

There is nothing in machinery, there is nothing in embankments and railways and iron bridges and engineering devices to oblige them to be ugly. Ugliness is the measure of imperfection; a thing of human making is for the most part ugly in proportion to the poverty of its constructive thought, to the failure of its producer fully to grasp the purpose of its being. Everything to which men continue to give thought and attention, which they make and remake in the same direction, and with a continuing desire to do as well as they can, grows beautiful inevitably. Things made by mankind under modern conditions are ugly, primarily because our social organisation is ugly, because we live in an atmosphere of snatch and uncertainty, and do everything in an underbred strenuous manner. This is the misfortune of machinery, and not its fault. Art, like some beautiful plant, lives on its atmosphere, and when the atmosphere is good, it will grow everywhere, and when it is bad nowhere. If we smashed and buried every machine, every furnace, every factory in the world, and without any further change set ourselves to home industries, hand labour, spade husbandry, sheep–folding and pig minding, we should still do things in the same haste, and achieve nothing but dirtiness, inconvenience, bad air, and another gaunt and gawky reflection of our intellectual and moral disorder. We should mend nothing.

But in Utopia a man who designs a tram road will be a cultivated man, an artist craftsman; he will strive, as a good writer, or a painter strives, to achieve the simplicity of perfection. He will make his girders and rails and parts as gracious as that first engineer, Nature, has made the stems of her plants and the joints and gestures of her animals. To esteem him a sort of anti–artist, to count every man who makes things with his unaided thumbs an artist, and every man who uses machinery as a brute, is merely a passing phase of human stupidity. This tram road beside us will be a triumph of design. The idea will be so unfamiliar to us that for a time it will not occur to us that it is a system of beautiful objects at all. We shall admire its ingenious adaptation to the need of a district that is buried half the year in snow, the hard bed below, curved and guttered to do its own clearing, the great arched sleeper masses, raising the rails a good two yards above the ground, the easy, simple standards and insulators. Then it will creep in upon our minds, "But, by Jove! This is designed!"

Indeed the whole thing will be designed.

Later on, perhaps, we may find students in an art school working in competition to design an electric tram, students who know something of modern metallurgy, and something of electrical engineering, and we shall find people as keenly critical of a signal box or an iron bridge as they are on earth of―! Heavens! what are they critical about on earth?

The quality and condition of a dress tie!

We should make some unpatriotic comparisons with our own planet, no doubt.