But I said the effect of its being so filled, because this, again, is of the essence of good design.  With a simple spray of leaves and a bird in flight a Japanese artist will give you the impression that he has completely covered with lovely design the reed fan or lacquer cabinet at which he is working, merely because he knows the exact spot in which to place them.  All good design depends on the texture of the utensil used and the use you wish to put it to.  One of the first things I saw in an American school of design was a young lady painting a romantic moonlight landscape on a large round dish, and another young lady covering a set of dinner plates with a series of sunsets of the most remarkable colours.  Let your ladies paint moonlight landscapes and sunsets, but do not let them paint them on dinner plates or dishes.  Let them take canvas or paper for such work, but not clay or china.  They are merely painting the wrong subjects on the wrong material, that is all.  They have not been taught that every material and texture has certain qualities of its own.  The design suitable for one is quite wrong for the other, just as the design which you should work on a flat table-cover ought to be quite different from the design you would work on a curtain, for the one will always be straight, the other broken into folds; and the use too one puts the object to should guide one in the choice of design.  One does not want to eat one’s terrapins off a romantic moonlight nor one’s clams off a harrowing sunset.  Glory of sun and moon, let them be wrought for us by our landscape artist and be on the walls of the rooms we sit in to remind us of the undying beauty of the sunsets that fade and die, but do not let us eat our soup off them and send them down to the kitchen twice a day to be washed and scrubbed by the handmaid.

All these things are simple enough, yet nearly always forgotten.  Your school of design here will teach your girls and your boys, your handicraftsmen of the future (for all your schools of art should be local schools, the schools of particular cities).  We talk of the Italian school of painting, but there is no Italian school; there were the schools of each city.  Every town in Italy, from Venice itself, queen of the sea, to the little hill fortress of Perugia, each had its own school of art, each different and all beautiful.

So do not mind what art Philadelphia or New York is having, but make by the hands of your own citizens beautiful art for the joy of your own citizens, for you have here the primary elements of a great artistic movement.