Selections From the Works of John Ruskin Part 17

It is therefore in a great measure the fault of artists themselves if they suffer from this partly unintelligent, but thoroughly well-intended patronage. If they seek to attract it by eccentricity, to deceive it by superficial qualities, or take advantage of it by thoughtless and facile production, they necessarily degrade themselves and it together, and have no right to complain afterwards that it will not acknowledge better-grounded claims. But if every painter of real power would do only what he knew to be worthy of himself, and refuse to be involved in the contention for undeserved or accidental success, there is indeed, whatever may have been thought or said to the contrary, true instinct enough in the public mind to follow such firm guidance. It is one of the facts which the experience of thirty years enables me to a.s.sert without qualification, that a really good picture is ultimately always approved and bought, unless it is wilfully rendered offensive to the public by faults which the artist has been either too proud to abandon or too weak to correct.

The development of whatever is healthful and serviceable in the two modes of impulse which we have been considering, depends however, ultimately, on the direction taken by the true interest in art which has lately been aroused by the great and active genius of many of our living, or but lately lost, painters, sculptors, and architects. It may perhaps surprise, but I think it will please you to hear me, or (if you will forgive me, in my own Oxford, the presumption of fancying that some may recognize me by an old name) to hear the author of _Modern Painters_ say, that his chief error in earlier days was not in over-estimating, but in too slightly acknowledging the merit of living men. The great painter whose power, while he was yet among us, I was able to perceive,[172] was the first to reprove me for my disregard of the skill of his fellow-artists; and, with this inauguration of the study of the art of all time,--a study which can only by true modesty end in wise admiration,--it is surely well that I connect the record of these words of his, spoken then too truly to myself, and true always more or less for all who are untrained in that toil,--"You don't know how difficult it is."

You will not expect me, within the compa.s.s of this lecture, to give you any a.n.a.lysis of the many kinds of excellent art (in all the three great divisions) which the complex demands of modern life, and yet more varied instincts of modern genius, have developed for pleasure or service. It must be my endeavour, in conjunction with my colleagues in other Universities, hereafter to enable you to appreciate these worthily; in the hope that also the members of the Royal Academy, and those of the Inst.i.tute of British Architects, may be induced to a.s.sist, and guide, the efforts of the Universities, by organizing such a system of art education for their own students, as shall in future prevent the waste of genius in any mistaken endeavours; especially removing doubt as to the proper substance and use of materials; and requiring compliance with certain elementary principles of right, in every picture and design exhibited with their sanction. It is not indeed possible for talent so varied as that of English artists to be compelled into the formalities of a determined school; but it must certainly be the function of every academical body to see that their younger students are guarded from what must in every school be error; and that they are practised in the best methods of work hitherto known, before their ingenuity is directed to the invention of others.

I need scarcely refer, except for the sake of completeness in my statement, to one form of demand for art which is wholly unenlightened, and powerful only for evil;--namely, the demand of the cla.s.ses occupied solely in the pursuit of pleasure, for objects and modes of art that can amuse indolence or excite pa.s.sion. There is no need for any discussion of these requirements, or of their forms of influence, though they are very deadly at present in their operation on sculpture, and on jewellers' work. They cannot be checked by blame, nor guided by instruction; they are merely the necessary results of whatever defects exist in the temper and principles of a luxurious society; and it is only by moral changes, not by art-criticism, that their action can be modified.

Lastly, there is a continually increasing demand for popular art, multipliable by the printing-press, ill.u.s.trative of daily events, of general literature, and of natural science. Admirable skill, and some of the best talent of modern times, are occupied in supplying this want; and there is no limit to the good which may be effected by rightly taking advantage of the powers we now possess of placing good and lovely art within the reach of the poorest cla.s.ses. Much has been already accomplished; but great harm has been done also,--first, by forms of art definitely addressed to depraved tastes; and, secondly, in a more subtle way, by really beautiful and useful engravings which are yet not good enough to retain their influence on the public mind;--which weary it by redundant quant.i.ty of monotonous average excellence, and diminish or destroy its power of accurate attention to work of a higher order.

Especially this is to be regretted in the effect produced on the schools of line engraving, which had reached in England an executive skill of a kind before unexampled, and which of late have lost much of their more sterling and legitimate methods. Still, I have seen plates produced quite recently, more beautiful, I think, in some qualities than anything ever before attained by the burin:[173] and I have not the slightest fear that photography, or any other adverse or compet.i.tive operation, will in the least ultimately diminish,--I believe they will, on the contrary, stimulate and exalt--the grand old powers of the wood and the steel.

Such are, I think, briefly the present conditions of art with which we have to deal; and I conceive it to be the function of this Professorship, with respect to them, to establish both a practical and critical school of fine art for English gentlemen: practical, so that, if they draw at all, they may draw rightly; and critical, so that, being first directed to such works of existing art as will best reward their study, they may afterwards make their patronage of living artists delightful to themselves in their consciousness of its justice, and, to the utmost, beneficial to their country, by being given only to the men who deserve it; in the early period of their lives, when they both need it most and can be influenced by it to the best advantage.

And especially with reference to this function of patronage, I believe myself justified in taking into account future probabilities as to the character and range of art in England; and I shall endeavour at once to organize with you a system of study calculated to develope chiefly the knowledge of those branches in which the English schools have shown, and are likely to show, peculiar excellence.

Now, in asking your sanction both for the nature of the general plans I wish to adopt, and for what I conceive to be necessary limitations of them, I wish you to be fully aware of my reasons for both: and I will therefore risk the burdening of your patience while I state the directions of effort in which I think English artists are liable to failure, and those also in which past experience has shown they are secure of success.

I referred, but now, to the effort we are making to improve the designs of our manufactures. Within certain limits I believe this improvement may indeed take effect: so that we may no more humour momentary fashions by ugly results of chance instead of design; and may produce both good tissues, of harmonious colours, and good forms and substance of pottery and gla.s.s. But we shall never excel in decorative design.

Such design is usually produced by people of great natural powers of mind, who have no variety of subjects to employ themselves on, no oppressive anxieties, and are in circ.u.mstances either of natural scenery or of daily life, which cause pleasurable excitement. _We_ cannot design because we have too much to think of, and we think of it too anxiously. It has long been observed how little real anxiety exists in the minds of the partly savage races which excel in decorative art; and we must not suppose that the temper of the middle ages was a troubled one, because every day brought its dangers or its changes. The very eventfulness of the life rendered it careless, as generally is still the case with soldiers and sailors. Now, when there are great powers of thought, and little to think of, all the waste energy and fancy are thrown into the manual work, and you have as much intellect as would direct the affairs of a large mercantile concern for a day, spent all at once, quite unconsciously, in drawing an ingenious spiral.

Also, powers of doing fine ornamental work are only to be reached by a perpetual discipline of the hand as well as of the fancy; discipline as attentive and painful as that which a juggler has to put himself through, to overcome the more palpable difficulties of his profession.

The execution of the best artists is always a splendid tour-de-force, and much that in painting is supposed to be dependent on material is indeed only a lovely and quite inimitable legerdemain. Now, when powers of fancy, stimulated by this triumphant precision of manual dexterity, descend uninterruptedly from generation to generation, you have at last, what is not so much a trained artist as a new species of animal, with whose instinctive gifts you have no chance of contending. And thus all our imitations of other peoples' work are futile. We must learn first to make honest English wares, and afterward to decorate them as may please the then approving Graces.

Secondly--and this is an incapacity of a graver kind, yet having its own good in it also--we shall never be successful in the highest fields of ideal or theological art.

For there is one strange, but quite essential, character in us--ever since the Conquest, if not earlier:--a delight in the forms of burlesque which are connected in some degree with the foulness in evil. I think the most perfect type of a true English mind in its best possible temper, is that of Chaucer; and you will find that, while it is for the most part full of thoughts of beauty, pure and wild like that of an April morning, there are, even in the midst of this, sometimes momentarily jesting pa.s.sages which stoop to play with evil--while the power of listening to and enjoying the jesting of entirely gross persons, whatever the feeling may be which permits it, afterwards degenerates into forms of humour which render some of quite the greatest, wisest, and most moral of English writers now almost useless for our youth. And yet you will find that whenever Englishmen are wholly without this instinct, their genius is comparatively weak and restricted.

Now, the first necessity for the doing of any great work in ideal art, is the looking upon all foulness with horror, as a contemptible though dreadful enemy. You may easily understand what I mean, by comparing the feelings with which Dante regards any form of obscenity or of base jest, with the temper in which the same things are regarded by Shakspere. And this strange earthly instinct of ours, coupled as it is, in our good men, with great simplicity and common sense, renders them shrewd and perfect observers and delineators of actual nature, low or high; but precludes them from that speciality of art which is properly called sublime. If ever we try anything in the manner of Michael Angelo or of Dante, we catch a fall, even in literature, as Milton in the battle of the angels, spoiled from Hesiod:[174] while in art, every attempt in this style has. .h.i.therto been the sign either of the presumptuous egotism of persons who had never really learned to be workmen, or it has been connected with very tragic forms of the contemplation of death,--it has always been partly insane, and never once wholly successful.

But we need not feel any discomfort in these limitations of our capacity. We can do much that others cannot, and more than we have ever yet ourselves completely done. Our first great gift is in the portraiture of living people--a power already so accomplished in both Reynolds and Gainsborough, that nothing is left for future masters but to add the calm of perfect workmanship to their vigour and felicity of perception. And of what value a true school of portraiture may become in the future, when worthy men will desire only to be known, and others will not fear to know them, for what they truly were, we cannot from any past records of art influence yet conceive. But in my next address it will be partly my endeavour to show you how much more useful, because more humble, the labour of great masters might have been, had they been content to bear record of the souls that were dwelling with them on earth, instead of striving to give a deceptive glory to those they dreamed of in heaven.

Secondly, we have an intense power of invention and expression in domestic drama; (King Lear and Hamlet being essentially domestic in their strongest motives of interest). There is a tendency at this moment towards a n.o.ble development of our art in this direction, checked by many adverse conditions, which may be summed in one,--the insufficiency of generous civic or patriotic pa.s.sion in the heart of the English people; a fault which makes its domestic affections selfish, contracted, and, therefore, frivolous.

Thirdly, in connection with our simplicity and good-humour, and partly with that very love of the grotesque which debases our ideal, we have a sympathy with the lower animals which is peculiarly our own; and which, though it has already found some exquisite expression in the works of Bewick and Landseer, is yet quite undeveloped. This sympathy, with the aid of our now authoritative science of physiology, and in a.s.sociation with our British love of adventure, will, I hope, enable us to give to the future inhabitants of the globe an almost perfect record of the present forms of animal life upon it, of which many are on the point of being extinguished....

While I myself hold this professorship, I shall direct you in these exercises very definitely to natural history, and to landscape; not only because in these two branches I am probably able to show you truths which might be despised by my successors; but because I think the vital and joyful study of natural history quite the princ.i.p.al element requiring introduction, not only into University, but into national, education, from highest to lowest; and I even will risk incurring your ridicule by confessing one of my fondest dreams, that I may succeed in making some of you English youths like better to look at a bird than to shoot it; and even desire to make wild creatures tame, instead of tame creatures wild. And for the study of landscape, it is, I think, now calculated to be of use in deeper, if not more important modes, than that of natural science, for reasons which I will ask you to let me state at some length.

Observe first;--no race of men which is entirety bred in wild country, far from cities, ever enjoys landscape. They may enjoy the beauty of animals, but scarcely even that: a true peasant cannot see the beauty of cattle; but only the qualities expressive of their serviceableness.

I waive discussion of this to-day; permit my a.s.sertion of it, under my confident guarantee of future proof. Landscape can only be enjoyed by cultivated persons; and it is only by music, literature, and painting, that cultivation can be given. Also, the faculties which are thus received are hereditary; so that the child of an educated race has an innate instinct for beauty, derived from arts practised hundreds of years before its birth. Now farther note this, one of the loveliest things in human nature. In the children of n.o.ble races, trained by surrounding art, and at the same time in the practice of great deeds, there is an intense delight in the landscape of their country as _memorial_; a sense not taught to them, nor teachable to any others; but, in them, innate; and the seal and reward of persistence in great national life;--the obedience and the peace of ages having extended gradually the glory of the revered ancestors also to the ancestral land; until the Motherhood of the dust, the mystery of the Demeter from whose bosom we came, and to whose bosom we return, surrounds and inspires, everywhere, the local awe of field and fountain; the sacredness of landmark that none may remove, and of wave that none may pollute; while records of proud days, and of dear persons, make every rock monumental with ghostly inscription, and every path lovely with n.o.ble desolateness.

Now, however checked by lightness of temperament, the instinctive love of landscape in us has this deep root, which, in your minds, I will pray you to disenc.u.mber from whatever may oppress or mortify it, and to strive to feel with all the strength of your youth that a nation is only worthy of the soil and the scenes that it has inherited, when, by all its acts and arts, it is making them more lovely for its children....

But if either our work, or our inquiries, are to be indeed successful in their own field, they must be connected with others of a sterner character. Now listen to me, if I have in these past details lost or burdened your attention; for this is what I have chiefly to say to you.

The art of any country _is the exponent of its social and political virtues_. I will show you that it is so in some detail, in the second of my subsequent course of lectures; meantime accept this as one of the things, and the most important of all things, I can positively declare to you. The art, or general productive and formative energy, of any country, is an exact exponent of its ethical life. You can have n.o.ble art only from n.o.ble persons, a.s.sociated under laws fitted to their time and circ.u.mstances. And the best skill that any teacher of art could spend here in your help, would not end in enabling you even so much as rightly to draw the water-lilies in the Cherwell (and though it did, the work when done would not be worth the lilies themselves) unless both he and you were seeking, as I trust we shall together seek, in the laws which regulate the finest industries, the clue to the laws which regulate all industries, and in better obedience to which we shall actually have henceforward to live: not merely in compliance with our own sense of what is right, but under the weight of quite literal necessity. For the trades by which the British people has believed it to be the highest of destinies to maintain itself, cannot now long remain undisputed in its hands; its unemployed poor are daily becoming more violently criminal; and a certain distress in the middle cla.s.ses, arising, _partly from their vanity in living always up to their incomes, and partly from, their folly in imagining that they can subsist in idleness upon usury_, will at last compel the sons and daughters of English families to acquaint themselves with the principles of providential economy; and to learn that food can only be got out of the ground, and competence only secured by frugality; and that although it is not possible for all to be occupied in the highest arts, nor for any, guiltlessly, to pa.s.s their days in a succession of pleasures, the most perfect mental culture possible to men is founded on their useful energies, and their best arts and brightest happiness are consistent, and consistent only, with their virtue.

This, I repeat, gentlemen, will soon become manifest to those among us, and there are yet many, who are honest-hearted. And the future fate of England depends upon the position they then take, and on their courage in maintaining it.

There is a destiny now possible to us--the highest ever set before a nation to be accepted or refused. We are still undegenerate in race; a race mingled of the best northern blood. We are not yet dissolute in temper, but still have the firmness to govern, and the grace to obey.

We have been taught a religion of pure mercy, which we must either now betray, or learn to defend by fulfilling. And we are rich in an inheritance of honour, bequeathed to us through a thousand years of n.o.ble history, which it should be our daily thirst to increase with splendid avarice, so that Englishmen, if it be a sin to covet honour, should be the most offending souls alive.[175] Within the last few years we have had the laws of natural science opened to us with a rapidity which has been blinding by its brightness; and means of transit and communication given to us, which have made but one kingdom of the habitable globe. One kingdom;--but who is to be its king? Is there to be no king in it, think you, and every man to do that which is right in his own eyes? Or only kings of terror, and the obscene empires of Mammon and Belial? Or will you, youths of England, make your country again a royal throne of kings; a sceptred isle, for all the world a source of light, a centre of peace; mistress of Learning and of the Arts;--faithful guardian of great memories in the midst of irreverent and ephemeral visions;--faithful servant of time-tried principles, under temptation from fond experiments and licentious desires; and amidst the cruel and clamorous jealousies of the nations, worshipped in her strange valour of goodwill toward men?[176]

"Vexilla regis prodeunt."[177] Yes, but of which king? There are the two oriflammes; which shall we plant on the farthest islands--the one that floats in heavenly fire, or that hangs heavy with foul tissue of terrestrial gold? There is indeed a course of beneficent glory open to us, such as never was yet offered to any poor group of mortal souls.

But it must be--it _is_ with us, now. "Reign or Die." And if it shall be said of this country, "Fece per viltate, il gran rifiuto,"[178]

that refusal of the crown will be, of all yet recorded in history, the shamefullest and most untimely.

And this is what she must either do, or perish: she must found colonies as fast and as far as she is able, formed of her most energetic and worthiest men;--seizing every piece of fruitful waste ground she can set her foot on, and there teaching these her colonists that their chief virtue is to be fidelity to their country, and that their first aim is to be to advance the power of England by land and sea: and that, though they live on a distant plot of ground, they are no more to consider themselves therefore disfranchised from their native land, than the sailors of her fleets do, because they float on distant waves. So that literally, these colonies must be fastened fleets; and every man of them must be under authority of captains and officers, whose better command is to be over fields and streets instead of ships of the line; and England, in these her motionless navies (or, in the true and mightiest sense, motionless _churches_, ruled by pilots on the Galilean lake[179] of all the world), is to "expect every man to do his duty";[180] recognizing that duty is indeed possible no less in peace than war; and that if we can get men, for little pay, to cast themselves against cannon-mouths for love of England, we may find men also who will plough and sow for her, who will behave kindly and righteously for her, who will bring up their children to love her, and who will gladden themselves in the brightness of her glory, more than in all the light of tropic skies.

But that they may be able to do this, she must make her own majesty stainless; she must give them thoughts of their home of which they can be proud. The England who is to be mistress of half the earth, cannot remain herself a heap of cinders, trampled by contending and miserable crowds; she must yet again become the England she was once, and in all beautiful ways,--more: so happy, so secluded, and so pure, that in her sky--polluted by no unholy clouds--she may be able to spell rightly of every star that heaven doth show; and in her fields, ordered and wide and fair, of every herb that sips the dew;[181] and under the green avenues of her enchanted garden, a sacred Circe, true Daughter of the Sun, she must guide the human arts, and gather the divine knowledge, of distant nations, transformed from savageness to manhood, and redeemed from despairing into Peace.

You think that an impossible ideal. Be it so; refuse to accept it if you will; but see that you form your own in its stead. All that I ask of you is to have a fixed purpose of some kind for your country and yourselves; no matter how restricted, so that it be fixed and unselfish. I know what stout hearts are in you, to answer acknowledged need; but it is the fatallest form of error in English youth to hide their hardihood till it fades for lack of sunshine, and to act in disdain of purpose, till all purpose is vain. It is not by deliberate, but by careless selfishness; not by compromise with evil, but by dull following of good, that the weight of national evil increases upon us daily. Break through at least this pretence of existence; determine what you will be, and what you would win. You will not decide wrongly if you resolve to decide at all. Were even the choice between lawless pleasure and loyal suffering, you would not, I believe, choose basely.

But your trial is not so sharp. It is between drifting in confused wreck among the castaways of Fortune, who condemns to a.s.sured ruin those who know not either how to resist her, or obey; between this, I say, and the taking of your appointed part in the heroism of Rest; the resolving to share in the victory which is to the weak rather than the strong; and the binding yourselves by that law, which, thought on through lingering night and labouring day, makes a man's life to be as a tree planted by the water-side, that bringeth forth his fruit in his season;--

"ET FOLIUM EJUS NON DEFLUET, ET OMNIA, QUaeCUNQUE FACIET, PROSPERABUNTUR."[182]

[172] Turner.

[173] The tool of the engraver on copper.

[174] See _Paradise Lost_, 6. 207 ff., and Hesiod's _Theogony_, 676 ff.

[175] _Henry V_, 4. 3. 29.

[176] _Luke_ ii, 14.

[177] "Forward go the banners of the King," or more commonly, "The royal banners forward go." One of the seven great hymns of the Church.

See the Episcopal Hymnal, 94.

[178] Dante, _Inferno_, 3. 60. "Who made through cowardice the great refusal." Longfellow's tr.

[179] _Lyridas_, 109.

[180] Nelson's famous signal at Trafalgar.

[181] Milton's _Il Penseroso_, 170 ff.

[182] _Psalms_ i, 3.

THE RELATION OF ART TO MORALS

And now I pa.s.s to the arts with which I have special concern, in which, though the facts are exactly the same, I shall have more difficulty in proving my a.s.sertion, because very few of us are as cognizant of the merit of painting as we are of that of language; and I can only show you whence that merit springs, after having thoroughly shown you in what it consists. But, in the meantime, I have simply to tell you, that the manual arts are as accurate exponents of ethical state, as other modes of expression; first, with absolute precision, of that of the workman; and then with precision, disguised by many distorting influences, of that of the nation to which it belongs.

And, first, they are a perfect exponent of the mind of the workman: but, being so, remember, if the mind be great or complex, the art is not an easy book to read; for we must ourselves possess all the mental characters of which we are to read the signs. No man can read the evidence of labour who is not himself laborious, for he does not know what the work cost: nor can he read the evidence of true pa.s.sion if he is not pa.s.sionate; nor of gentleness if he is not gentle: and the most subtle signs of fault and weakness of character he can only judge by having had the same faults to fight with. I myself, for instance, know impatient work, and tired work, better than most critics, because I am myself always impatient, and often tired:--so also, the patient and indefatigable touch of a mighty master becomes more wonderful to me than to others. Yet, wonderful in no mean measure it will be to you all, when I make it manifest;--and as soon as we begin our real work, and you have learned what it is to draw a true line, I shall be able to make manifest to you,--and undisputably so,--that the day's work of a man like Mantegna or Paul Veronese consists of an unfaltering, uninterrupted, succession of movements of the hand more precise than those of the finest fencer: the pencil leaving one point and arriving at another, not only with unerring precision at the extremity of the line, but with an unerring and yet varied course--sometimes over s.p.a.ces a foot or more in extent--yet a course so determined everywhere that either of these men could, and Veronese often does, draw a finished profile, or any other portion of the contour of the face, with one line, not afterwards changed. Try, first, to realize to yourselves the muscular precision of that action, and the intellectual strain of it; for the movement of a fencer is perfect in practised monotony; but the movement of the hand of a great painter is at every instant governed by direct and new intention. Then imagine that muscular firmness and subtlety, and the instantaneously selective and ordinant energy of the brain, sustained all day long, not only without fatigue, but with a visible joy in the exertion, like that which an eagle seems to take in the wave of his wings; and this all life long, and through long life, not only without failure of power, but with visible increase of it, until the actually organic changes of old age.

And then consider, so far as you know anything of physiology, what sort of an ethical state of body and mind that means!--ethic through ages past! what fineness of race there must be to get it, what exquisite balance and symmetry of the vital powers! And then, finally, determine for yourselves whether a manhood like that is consistent with any viciousness of soul, with any mean anxiety, any gnawing l.u.s.t, any wretchedness of spite or remorse, any consciousness of rebellion against law of G.o.d or man, or any actual, though unconscious violation of even the least law to which obedience is essential for the glory of life, and the pleasing of its Giver.

It is, of course, true that many of the strong masters had deep faults of character, but their faults always show in their work. It is true that some could not govern their pa.s.sions; if so, they died young, or they painted ill when old. But the greater part of our misapprehension in the whole matter is from our not having well known who the great painters were, and taking delight in the petty skill that was bred in the fumes of the taverns of the North, instead of theirs who breathed empyreal air, sons of the morning, under the woods of a.s.sisi and the crags of Cadore.