PLASTICITY
remarkable and inspiriting. I speak, of course, mainly of material beauty; but it is hard to believe that so marked an impulse toward the good as one notes in architecture, painting, sculpture, and literature, can be unaccompanied by a cognate impulse toward moral beauty, even in relation to civic life. The New Yorker's pride in New York is much more alert and active than the Londoner's pride in London; and this feeling must ere long make itself effective and dominant. For the great advantage, it seems to me, that America possesses over the Old World is its material and moral plasticity. Even among the giant structures of this city, one feels that there is nothing rigid, nothing oppressive, nothing inaccessible to the influence of changing conditions. If the buildings are Cyclopean, so is the race that reared them. The material world seems as clay on the potter's wheel, visibly taking on the impress of the human spirit; and the human spirit; as embodied in this superbly vital people, seems to be visibly thrilling to all the forces of civilisation.
One of the latest, and certainly one of the most keen-sighted, of English travellers in America is Mr. G. W. Steevens, a master journalist if ever there was one. I turn to his Land of the Dollar and I find New York writ down "uncouth, formless, piebald, chaotic." "Never have I seen," says Mr. Steevens, "a city more hideous. . . . Nothing is given to beauty; everything centres in hard utility." Mr. Steevens must forgive me for saying
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