Over the course of a long and remarkable academic career, Martin Eidelberg has consistently championed the artistic and historic signi cance of the decorative arts. In documenting Adelaide Alsop Robineau’s evolution from china decorator to ceramist, all in accord with the desire of the Arts & Crafts Movement to end the division between designer and craftsman (and indeed, between men and women), Dr. Eidelberg has referred to the “moral imperative” which guided her when making each of her pots unique in form and glaze. In surveying the Eidelberg canon, I would argue that this great scholar has followed a similar path. With his repeated inquiries into his favorite subjects—from the art of Watteau to Tiffany’s lamps—Dr. Eidelberg has continually improved our sense of history, through the joys of archival discovery, collaborations with colleagues and students, and old-fashioned connoisseurship in an age of critical theory. The history of late nineteenth- and twentieth-century decorative arts in Europe and America would not be as well-written or fully formed without his contributions.