We are industrial for other reasons, and in a different way. Our working instincts are very few; our faith in them still more feeble; and our physical wants far greater than those of any other creature. Indeed, the one half of the Industrial Arts are the result of our being born without clothes; the other half,of our being born without tools.

人类创造工业化的原因则不同、方式也不同。人类并无太多的劳作本能，也无坚定的劳作信念。然而，人类在物质方面的需求却比其它生物要多得多。工业艺术的形成说到底有一半原因归结于人类对穿衣的需求；另一半则归结于人类天生没有可利用的工具。

I do not propose to offer you a catalogue of the arts which our unclothedness compels us to foster. The shivering savage in the colder countries robs the seal and the bear, the buffalo and the deer, of the one mantle which Nature has given them. The wild huntsman, by a swift but simple transmutation, becomes the clothier, the tailor, the tanner, the currier, the leather-dresser, the glover, the saddler, the shoemaker, the tent-maker. And the tent-maker, the arch-architect of one of the great schools of architecture, becomes quickly a house-builder, building with snow where better material is not to be had; and a ship-builder, constructing, out of a few wooden ribs and stretched animal skins, canoes which, as sad experience has shown, may survive where English ships of oak have gone to destruction.

我并不打算将人类因穿衣需求而被迫制作的“艺术品清单”一一摊开。在被寒冷侵蚀的国家里，生活着让人发指的野蛮人，他们对海豹、熊、水牛和鹿痛下杀手，抢劫大自然赋予它们的“毛皮”。服装制造商、裁缝、制革工、制革匠、皮革工、手套工、马鞍工、鞋匠、帐篷制造工，这些都是野蛮猎人的间接转化物。帐篷制造者很快演变成为房屋建筑者，他们是伟大建筑学派的首席建筑师，可以在材料极其稀缺的地方用雪建造房屋；造船工人用几根肋骨几张动物皮便能造出独木舟，惨痛的经历告诉我们，这些独木舟在即使能摧毁英国橡木船的地方也能完好保留下来。

Again: the unchilled savage of the warmer regions seeks a covering, not from the cold, but from the sun which smites him by day, and the moon which smites him by night. The palm, the banana, the soft-barked trees, the broad-leaved sedges and long-fibred grasses are spoiled by him, as the beasts of the field are by his colder brother.

此外，在温热地区生活着的未受寒冷侵袭的野蛮人也会去寻找遮盖物，不是为了抵御严寒，而是为了白天晚上的防晒。棕榈树、香蕉叶、软树皮树、宽叶莎草和长绒草全被他们破坏掉拿来充当遮盖物，物竞天择，就如同野外的野兽被更凶残的哥们儿吃掉一样。