"A JOY FOR EVER"; (AND ITS PRICE IN THE MARKET): BEING THE SUBSTANCE (WITH ADDITIONS) OF TWO LECTURES ON THE POLITICAL ECONOMY OF ART, Delivered at Manchester, July 10th and 13th, 1857.
JOHN RUSKIN, LL.D.,
HONORARY STUDENT OF CHRIST CHURCH, AND HONORARY FELLOW OF CORPUS CHRISTI COLLEGE, OXFORD.
"A thing of beauty is a joy for ever."—KEATS.
SIXTEENTH THOUSAND. LONDON: GEORGE ALLEN, 156, CHARING CROSS ROAD. 1904. [All rights reserved] Printed by BALLANTYNE, HANSON & CO. At the Ballantyne Press
TO THE RE-ISSUE OF 1880.
The title of this book,—or, more accurately, of its subject;—for no author was ever less likely than I have lately become, to hope for perennial pleasure to his readers from what has cost himself the most pains,—will be, perhaps, recognised by some as the last clause of the line chosen from Keats by the good folks of Manchester, to be written in letters of gold on the cornice, or Holy rood, of the great Exhibition which inaugurated the career of so many,—since organized, by both foreign governments and our own, to encourage the production of works of art, which the producing nations, so far from intending to be their "joy for ever," only hope to sell as soon as possible. Yet the motto was chosen with uncomprehended felicity: for there never was, nor can be, any essential beauty possessed by a work of art, which is not based on the conception of its honoured permanence, and local influence, as a part of appointed and precious furniture, either in the cathedral, the house, or the joyful thoroughfare, of nations which enter their gates with thanksgiving, and their courts with praise.
"Their" courts—or "His" courts;—in the mind of such races, the expressions are synonymous: and the habits of life which recognise the delightfulness, confess also the sacredness, of homes nested round the seat of a worship unshaken by insolent theory: themselves founded on an abiding affection for the past, and care for the future; and approached by paths open only to the activities of honesty, and traversed only by the footsteps of peace.
The exposition of these truths, to which I have given the chief energy of my life, will be found in the following pages first undertaken systematically and in logical sequence; and what I have since written on the political influence of the Arts has been little more than the expansion of these first lectures, in the reprint of which not a sentence is omitted or changed.
The supplementary papers added contain, in briefest form, the aphorisms respecting principles of art-teaching of which the attention I gave to this subject during the continuance of my Professorship at Oxford confirms me in the earnest and contented re-assertion.
April 29th, 1880.
TO THE 1857 EDITION.
The greater part of the following treatise remains in the exact form in which it was read at Manchester; but the more familiar passages of it, which were trusted to extempore delivery, have been written with greater explicitness and fulness than I could give them in speaking; and a considerable number of notes are added, to explain the points which could not be sufficiently considered in the time I had at my disposal in the lecture room.
Some apology may be thought due to the reader, for an endeavour to engage his attention on a subject of which no profound study seems compatible with the work in which I am usually employed. But profound study is not, in this case, necessary either to writer or readers, while accurate study, up to a certain point, is necessary for us all. Political economy means, in plain English, nothing more than "citizen's economy"; and its first principles ought, therefore, to be understood by all who mean to take the responsibility of citizens, as those of household economy by all who take the responsibility of householders. Nor are its first principles in the least obscure: they are, many of them, disagreeable in their practical requirements, and people in general pretend that they cannot understand, because they are unwilling to obey them: or rather, by habitual disobedience, destroy their capacity of understanding them. But there is not one of the really great principles of the science which is either obscure or disputable,—which might not be taught to a youth as soon as he can be trusted with an annual allowance, or to a young lady as soon as she is of age to be taken into counsel by the housekeeper.
I might, with more appearance of justice, be blamed for thinking it necessary to enforce what everybody is supposed to know. But this fault will hardly be found with me, while the commercial events recorded daily in our journals, and still more the explanations attempted to be given of them, show that a large number of our so-called merchants are as ignorant of the nature of money as they are reckless, unjust, and unfortunate in its employment.
The statements of economical principles given in the text, though I know that most, if not all, of them are accepted by existing authorities on the science, are not supported by references, because I have never read any author on political economy, except Adam Smith, twenty years ago. Whenever I have taken up any modern book upon this subject, I have usually found it encumbered with inquiries into accidental or minor commercial results, for the pursuit of which an ordinary reader could have no leisure, and by the complication of which, it seemed to me, the authors themselves had been not unfrequently prevented from seeing to the root of the business.
Finally, if the reader should feel induced to blame me for too sanguine a statement of future possibilities in political practice, let him consider how absurd it would have appeared in the days of Edward I. if the present state of social economy had been then predicted as necessary, or even described as possible. And I believe the advance from the days of Edward I. to our own, great as it is confessedly, consists, not so much in what we have actually accomplished, as in what we are now enabled to conceive.
LECTURE I. PAGE THE DISCOVERY AND APPLICATION OF ART 1
A Lecture delivered at Manchester, July 10th, 1857.
THE ACCUMULATION AND DISTRIBUTION OF ART 70
Continuation of the previous Lecture; delivered July 13th, 1857.
NOTE 1.—"FATHERLY AUTHORITY" 151 " 2.—"RIGHT TO PUBLIC SUPPORT" 159 " 3.—"TRIAL SCHOOLS" 169 " 4.—"PUBLIC FAVOUR" 180 " 5.—"INVENTION OF NEW WANTS" 183 " 6.—"ECONOMY OF LITERATURE" 187 " 7.—"PILOTS OF THE STATE" 189 " 8.—"SILK AND PURPLE" 193
SUPPLEMENTARY ADDITIONAL PAPERS.
EDUCATION IN ART 213
ART SCHOOL NOTES 229
SOCIAL POLICY 240
"A JOY FOR EVER."
THE DISCOVERY AND APPLICATION OF ART.
A Lecture delivered at Manchester, July 10, 1857.
1. Among the various characteristics of the age in which we live, as compared with other ages of this not yet very experienced world, one of the most notable appears to me to be the just and wholesome contempt in which we hold poverty. I repeat, the just and wholesome contempt; though I see that some of my hearers look surprised at the expression. I assure them, I use it in sincerity; and I should not have ventured to ask you to listen to me this evening, unless I had entertained a profound respect for wealth—true wealth, that is to say; for, of course, we ought to respect neither wealth nor anything else that is false of its kind: and the distinction between real and false wealth is one of the points on which I shall have a few words presently to say to you. But true wealth I hold, as I said, in great honour; and sympathize, for the most part, with that extraordinary feeling of the present age which publicly pays this honour to riches.
2. I cannot, however, help noticing how extraordinary it is, and how this epoch of ours differs from all bygone epochs in having no philosophical nor religious worshippers of the ragged godship of poverty. In the classical ages, not only were there people who voluntarily lived in tubs, and who used gravely to maintain the superiority of tub-life to town-life, but the Greeks and Latins seem to have looked on these eccentric, and I do not scruple to say, absurd people, with as much respect as we do upon large capitalists and landed proprietors; so that really, in those days, no one could be described as purse proud, but only as empty-purse proud. And no less distinct than the honour which those curious Greek people pay to their conceited poor, is the disrespectful manner in which they speak of the rich; so that one cannot listen long either to them, or to the Roman writers who imitated them, without finding oneself entangled in all sorts of plausible absurdities; hard upon being convinced of the uselessness of collecting that heavy yellow substance which we call gold, and led generally to doubt all the most established maxims of political economy.
3. Nor are matters much better in the Middle Ages. For the Greeks and Romans contented themselves with mocking at rich people, and constructing merry dialogues between Charon and Diogenes or Menippus, in which the ferryman and the cynic rejoiced together as they saw kings and rich men coming down to the shore of Acheron, in lamenting and lamentable crowds, casting their crowns into the dark waters, and searching, sometimes in vain, for the last coin out of all their treasures that could ever be of use to them.
4. But these Pagan views of the matter were indulgent, compared with those which were held in the Middle Ages, when wealth seems to have been looked upon by the best men not only as contemptible, but as criminal. The purse round the neck is, then, one of the principal signs of condemnation in the pictured Inferno; and the Spirit of Poverty is reverenced with subjection of heart, and faithfulness of affection, like that of a loyal knight for his lady, or a loyal subject for his queen. And truly, it requires some boldness to quit ourselves of these feelings, and to confess their partiality or their error, which, nevertheless, we are certainly bound to do. For wealth is simply one of the greatest powers which can be entrusted to human hands: a power, not indeed to be envied, because it seldom makes us happy; but still less to be abdicated or despised; while, in these days, and in this country, it has become a power all the more notable, in that the possessions of a rich man are not represented, as they used to be, by wedges of gold or coffers of jewels, but by masses of men variously employed, over whose bodies and minds the wealth, according to its direction, exercises harmful or helpful influence, and becomes, in that alternative, Mammon either of Unrighteousness or of Righteousness.
5. Now, it seemed to me that since, in the name you have given to this great gathering of British pictures, you recognize them as Treasures—that is, I suppose, as part and parcel of the real wealth of the country—you might not be uninterested in tracing certain commercial questions connected with this particular form of wealth. Most persons express themselves as surprised at its quantity; not having known before to what an extent good art had been accumulated in England: and it will, therefore, I should think, be held a worthy subject of consideration, what are the political interests involved in such accumulations, what kind of labour they represent, and how this labour may in general be applied and economized, so as to produce the richest results.
6. Now, you must have patience with me, if in approaching the specialty of this subject, I dwell a little on certain points of general political science already known or established: for though thus, as I believe, established, some which I shall have occasion to rest arguments on are not yet by any means universally accepted; and therefore, though I will not lose time in any detailed defence of them, it is necessary that I should distinctly tell you in what form I receive, and wish to argue from them; and this the more, because there may perhaps be a part of my audience who have not interested themselves in political economy, as it bears on ordinary fields of labour, but may yet wish to hear in what way its principles can be applied to Art. I shall, therefore, take leave to trespass on your patience with a few elementary statements in the outset, and with the expression of some general principles, here and there, in the course of our particular inquiry.
7. To begin, then, with one of these necessary truisms: all economy, whether of states, households, or individuals, may be defined to be the art of managing labour. The world is so regulated by the laws of Providence, that a man's labour, well applied, is always amply sufficient to provide him during his life with all things needful to him, and not only with those, but with many pleasant objects of luxury; and yet farther, to procure him large intervals of healthful rest and serviceable leisure. And a nation's labour, well applied, is, in like manner, amply sufficient to provide its whole population with good food and comfortable habitation; and not with those only, but with good education besides, and objects of luxury, art treasures, such as these you have around you now. But by those same laws of Nature and Providence, if the labour of the nation or of the individual be misapplied, and much more if it be insufficient,—if the nation or man be indolent and unwise,—suffering and want result, exactly in proportion to the indolence and improvidence—to the refusal of labour, or to the misapplication of it. Wherever you see want, or misery, or degradation, in this world about you, there, be sure, either industry has been wanting, or industry has been in error. It is not accident, it is not Heaven-commanded calamity, it is not the original and inevitable evil of man's nature, which fill your streets with lamentation, and your graves with prey. It is only that, when there should have been providence, there has been waste; when there should have been labour, there has been lasciviousness; and wilfulness, when there should have been subordination.
[Note 1: Proverbs xiii. 23: "Much food is in the tillage of the poor, but there is that is destroyed for want of judgment."]
8. Now, we have warped the word "economy" in our English language into a meaning which it has no business whatever to bear. In our use of it, it constantly signifies merely sparing or saving; economy of money means saving money—economy of time, sparing time, and so on. But that is a wholly barbarous use of the word—barbarous in a double sense, for it is not English, and it is bad Greek; barbarous in a treble sense, for it is not English, it is bad Greek, and it is worse sense. Economy no more means saving money than it means spending money. It means, the administration of a house; its stewardship; spending or saving, that is, whether money or time, or anything else, to the best possible advantage. In the simplest and clearest definition of it, economy, whether public or private, means the wise management of labour; and it means this mainly in three senses: namely, first, applying your labour rationally; secondly, preserving its produce carefully; lastly, distributing its produce seasonably.
9. I say first, applying your labour rationally; that is, so as to obtain the most precious things you can, and the most lasting things, by it: not growing oats in land where you can grow wheat, nor putting fine embroidery on a stuff that will not wear. Secondly, preserving its produce carefully; that is to say, laying up your wheat wisely in storehouses for the time of famine, and keeping your embroidery watchfully from the moth: and lastly, distributing its produce seasonably; that is to say, being able to carry your corn at once to the place where the people are hungry, and your embroideries to the places where they are gay; so fulfilling in all ways the Wise Man's description, whether of the queenly housewife or queenly nation: "She riseth while it is yet night, and giveth meat to her household, and a portion to her maidens. She maketh herself coverings of tapestry, her clothing is silk and purple. Strength and honour are in her clothing, and she shall rejoice in time to come."
10. Now, you will observe that in this description of the perfect economist, or mistress of a household, there is a studied expression of the balanced division of her care between the two great objects of utility and splendour: in her right hand, food and flax, for life and clothing; in her left hand, the purple and the needlework, for honour and for beauty. All perfect housewifery or national economy is known by these two divisions; wherever either is wanting, the economy is imperfect. If the motive of pomp prevails, and the care of the national economist is directed only to the accumulation of gold, and of pictures, and of silk and marble, you know at once that the time must soon come when all these treasures shall be scattered and blasted in national ruin. If, on the contrary, the element of utility prevails, and the nation disdains to occupy itself in any wise with the arts of beauty or delight, not only a certain quantity of its energy calculated for exercise in those arts alone must be entirely wasted, which is bad economy, but also the passions connected with the utilities of property become morbidly strong, and a mean lust of accumulation merely for the sake of accumulation, or even of labour merely for the sake of labour, will banish at last the serenity and the morality of life, as completely, and perhaps more ignobly, than even the lavishness of pride, and the likeness of pleasure. And similarly, and much more visibly, in private and household economy, you may judge always of its perfectness by its fair balance between the use and the pleasure of its possessions. You will see the wise cottager's garden trimly divided between its well-set vegetables, and its fragrant flowers; you will see the good housewife taking pride in her pretty table-cloth, and her glittering shelves, no less than in her well-dressed dish, and her full storeroom; the care in her countenance will alternate with gaiety, and though you will reverence her in her seriousness, you will know her best by her smile.
11. Now, as you will have anticipated, I am going to address you, on this and our succeeding evening, chiefly on the subject of that economy which relates rather to the garden than the farm-yard. I shall ask you to consider with me the kind of laws by which we shall best distribute the beds of our national garden, and raise in it the sweetest succession of trees pleasant to the sight, and (in no forbidden sense) to be desired to make us wise. But, before proceeding to open this specialty of our subject, let me pause for a few moments to plead with you for the acceptance of that principle of government or authority which must be at the root of all economy, whether for use or for pleasure. I said, a few minutes ago, that a nation's labour, well applied, was amply sufficient to provide its whole population with good food, comfortable clothing, and pleasant luxury. But the good, instant, and constant application is everything. We must not, when our strong hands are thrown out of work, look wildly about for want of something to do with them. If ever we feel that want, it is a sign that all our household is out of order. Fancy a farmer's wife, to whom one or two of her servants should come at twelve o'clock at noon, crying that they had got nothing to do; that they did not know what to do next: and fancy still farther, the said farmer's wife looking hopelessly about her rooms and yard, they being all the while considerably in disorder, not knowing where to set the spare handmaidens to work, and at last complaining bitterly that she had been obliged to give them their dinner for nothing. That's the type of the kind of political economy we practise too often in England. Would you not at once assert of such a mistress that she knew nothing of her duties? and would you not be certain, if the household were rightly managed, the mistress would be only too glad at any moment to have the help of any number of spare hands; that she would know in an instant what to set them to;—in an instant what part of to-morrow's work might be most serviceably forwarded, what part of next month's work most wisely provided for, or what new task of some profitable kind undertaken; and when the evening came, and she dismissed her servants to their recreation or their rest, or gathered them to the reading round the work-table, under the eaves in the sunset, would you not be sure to find that none of them had been overtasked by her, just because none had been left idle; that everything had been accomplished because all had been employed; that the kindness of the mistress had aided her presence of mind, and the slight labour had been entrusted to the weak, and the formidable to the strong; and that as none had been dishonoured by inactivity, so none had been broken by toil?
12. Now, the precise counterpart of such a household would be seen in a nation in which political economy was rightly understood. You complain of the difficulty of finding work for your men. Depend upon it, the real difficulty rather is to find men for your work. The serious question for you is not how many you have to feed, but how much you have to do; it is our inactivity, not our hunger, that ruins us: let us never fear that our servants should have a good appetite—our wealth is in their strength, not in their starvation. Look around this island of yours, and see what you have to do in it. The sea roars against your harbourless cliffs—you have to build the breakwater, and dig the port of refuge; the unclean pestilence ravins in your streets—you have to bring the full stream from the hills, and to send the free winds through the thoroughfare; the famine blanches your lips and eats away your flesh—you have to dig the moor and dry the marsh, to bid the morass give forth instead of engulfing, and to wring the honey and oil out of the rock. These things, and thousands such, we have to do, and shall have to do constantly, on this great farm of ours; for do not suppose that it is anything else than that. Precisely the same laws of economy which apply to the cultivation of a farm or an estate, apply to the cultivation of a province or of an island. Whatever rebuke you would address to the improvident master of an ill-managed patrimony, precisely that rebuke we should address to ourselves, so far as we leave our population in idleness and our country in disorder. What would you say to the lord of an estate who complained to you of his poverty and disabilities, and when you pointed out to him that his land was half of it overrun with weeds, and that his fences were all in ruin, and that his cattle-sheds were roofless, and his labourers lying under the hedges faint for want of food, he answered to you that it would ruin him to weed his land or to roof his sheds—that those were too costly operations for him to undertake, and that he knew not how to feed his labourers nor pay them? Would you not instantly answer, that instead of ruining him to weed his fields, it would save him; that his inactivity was his destruction, and that to set his labourers to work was to feed them? Now, you may add acre to acre, and estate to estate, as far as you like, but you will never reach a compass of ground which shall escape from the authority of these simple laws. The principles which are right in the administration of a few fields, are right also in the administration of a great country from horizon to horizon: idleness does not cease to be ruinous because it is extensive, nor labour to be productive because it is universal.
13. Nay, but you reply, there is one vast difference between the nation's economy and the private man's: the farmer has full authority over his labourers; he can direct them to do what is needed to be done, whether they like it or not; and he can turn them away if they refuse to work, or impede others in their working, or are disobedient, or quarrelsome. There is this great difference; it is precisely this difference on which I wish to fix your attention, for it is precisely this difference which you have to do away with. We know the necessity of authority in farm, or in fleet, or in army; but we commonly refuse to admit it in the body of the nation. Let us consider this point a little.
14. In the various awkward and unfortunate efforts which the French have made at the development of a social system, they have at least stated one true principle, that of fraternity or brotherhood. Do not be alarmed; they got all wrong in their experiments, because they quite forgot that this fact of fraternity implied another fact quite as important—that of paternity, or fatherhood. That is to say, if they were to regard the nation as one family, the condition of unity in that family consisted no less in their having a head, or a father, than in their being faithful and affectionate members, or brothers. But we must not forget this, for we have long confessed it with our lips, though we refuse to confess it in our lives. For half an hour every Sunday we expect a man in a black gown, supposed to be telling us truth, to address us as brethren, though we should be shocked at the notion of any brotherhood existing among us out of church. And we can hardly read a few sentences on any political subject without running a chance of crossing the phrase "paternal government," though we should be utterly horror-struck at the idea of governments claiming anything like a father's authority over us. Now, I believe those two formal phrases are in both instances perfectly binding and accurate, and that the image of the farm and its servants which I have hitherto used, as expressing a wholesome national organization, fails only of doing so, not because it is too domestic, but because it is not domestic enough; because the real type of a well-organized nation must be presented, not by a farm cultivated by servants who wrought for hire, and might be turned away if they refused to labour, but by a farm in which the master was a father, and in which all the servants were sons; which implied, therefore, in all its regulations, not merely the order of expediency, but the bonds of affection and responsibilities of relationship; and in which all acts and services were not only to be sweetened by brotherly concord, but to be enforced by fatherly authority.
[Note 2: See note 1st, in Addenda.]
15. Observe, I do not mean in the least that we ought to place such an authority in the hands of any one person, or of any class or body of persons. But I do mean to say that as an individual who conducts himself wisely must make laws for himself which at some time or other may appear irksome or injurious, but which, precisely at the time they appear most irksome, it is most necessary he should obey, so a nation which means to conduct itself wisely, must establish authority over itself, vested either in kings, councils, or laws, which it must resolve to obey, even at times when the law or authority appears irksome to the body of the people, or injurious to certain masses of it. And this kind of national law has hitherto been only judicial; contented, that is, with an endeavour to prevent and punish violence and crime: but, as we advance in our social knowledge, we shall endeavour to make our government paternal as well as judicial; that is, to establish such laws and authorities as may at once direct us in our occupations, protect us against our follies, and visit us in our distresses: a government which shall repress dishonesty, as now it punishes theft; which shall show how the discipline of the masses may be brought to aid the toils of peace, as discipline of the masses has hitherto knit the sinews of battle; a government which shall have its soldiers of the ploughshare as well as its soldiers of the sword, and which shall distribute more proudly its golden crosses of industry—golden as the glow of the harvest, than now it grants its bronze crosses of honour—bronzed with the crimson of blood.
16. I have not, of course, time to insist on the nature or details of government of this kind; only I wish to plead for your several and future consideration of this one truth, that the notion of Discipline and Interference lies at the very root of all human progress or power; that the "Let-alone" principle is, in all things which man has to do with, the principle of death; that it is ruin to him, certain and total, if he lets his land alone—if he lets his fellow-men alone—if he lets his own soul alone. That his whole life, on the contrary, must, if it is healthy life, be continually one of ploughing and pruning, rebuking and helping, governing and punishing; and that therefore it is only in the concession of some great principle of restraint and interference in national action that he can ever hope to find the secret of protection against national degradation. I believe that the masses have a right to claim education from their government; but only so far as they acknowledge the duty of yielding obedience to their government. I believe they have a right to claim employment from their governors; but only so far as they yield to the governor the direction and discipline of their labour; and it is only so far as they grant to the men whom they may set over them the father's authority to check the childishnesses of national fancy, and direct the waywardnesses of national energy, that they have a right to ask that none of their distresses should be unrelieved, none of their weaknesses unwatched; and that no grief, nor nakedness, nor peril, should exist for them, against which the father's hand was not outstretched, or the father's shield uplifted.
[Note 3: Compare Wordsworth's Essay on the Poor Law Amendment Bill. I quote one important passage: "But, if it be not safe to touch the abstract question of man's right in a social state to help himself even in the last extremity, may we not still contend for the duty of a Christian government, standing in loco parentis towards all its subjects, to make such effectual provision that no one shall be in danger of perishing either through the neglect or harshness of its legislation? Or, waiving this, is it not indisputable that the claim of the State to the allegiance, involves the protection of the subject? And, as all rights in one party impose a correlative duty upon another, it follows that the right of the State to require the services of its members, even to the jeopardizing of their lives in the common defence, establishes a right in the people (not to be gainsaid by utilitarians and economists) to public support when, from any cause, they may be unable to support themselves."—(See note 2nd, in Addenda.)]
17. Now, I have pressed this upon you at more length than is needful or proportioned to our present purposes of inquiry, because I would not for the first time speak to you on this subject of political economy without clearly stating what I believe to be its first grand principle. But its bearing on the matter in hand is chiefly to prevent you from at once too violently dissenting from me when what I may state to you as advisable economy in art appears to imply too much restraint or interference with the freedom of the patron or artist. We are a little apt, though on the whole a prudent nation, to act too immediately on our impulses, even in matters merely commercial; much more in those involving continual appeals to our fancies. How far, therefore, the proposed systems or restraints may be advisable, it is for you to judge; only I pray you not to be offended with them merely because they are systems and restraints.
18. Do you at all recollect that interesting passage of Carlyle, in which he compares, in this country and at this day, the understood and commercial value of man and horse; and in which he wonders that the horse, with its inferior brains and its awkward hoofiness, instead of handiness, should be always worth so many tens or scores of pounds in the market, while the man, so far from always commanding his price in the market, would often be thought to confer a service on the community by simply killing himself out of their way? Well, Carlyle does not answer his own question, because he supposes we shall at once see the answer. The value of the horse consists simply in the fact of your being able to put a bridle on him. The value of the man consists precisely in the same thing. If you can bridle him, or, which is better, if he can bridle himself, he will be a valuable creature directly. Otherwise, in a commercial point of view, his value is either nothing, or accidental only. Only, of course, the proper bridle of man is not a leathern one: what kind of texture it is rightly made of, we find from that command, "Be ye not as the horse or as the mule which have no understanding, whose mouths must be held in with bit and bridle." You are not to be without the reins, indeed; but they are to be of another kind: "I will guide thee with mine Eye." So the bridle of man is to be the Eye of God; and if he rejects that guidance, then the next best for him is the horse's and the mule's, which have no understanding; and if he rejects that, and takes the bit fairly in his teeth, then there is nothing left for him than the blood that comes out of the city, up to the horse-bridles.
19. Quitting, however, at last these general and serious laws of government—or rather bringing them down to our own business in hand—we have to consider three points of discipline in that particular branch of human labour which is concerned, not with procuring of food, but the expression of emotion; we have to consider respecting art: first, how to apply our labour to it; then, how to accumulate or preserve the results of labour; and then, how to distribute them. But since in art the labour which we have to employ is the labour of a particular class of men—men who have special genius for the business—we have not only to consider how to apply the labour, but, first of all, how to produce the labourer; and thus the question in this particular case becomes fourfold: first, how to get your man of genius; then, how to employ your man of genius; then, how to accumulate and preserve his work in the greatest quantity; and, lastly, how to distribute his work to the best national advantage. Let us take up these questions in succession.
20. I. Discovery.—How are we to get our men of genius: that is to say, by what means may we produce among us, at any given time, the greatest quantity of effective art-intellect? A wide question, you say, involving an account of all the best means of art education. Yes, but I do not mean to go into the consideration of those; I want only to state the few principles which lie at the foundation of the matter. Of these, the first is that you have always to find your artist, not to make him; you can't manufacture him, any more than you can manufacture gold. You can find him, and refine him: you dig him out as he lies nugget-fashion in the mountain-stream; you bring him home; and you make him into current coin, or household plate, but not one grain of him can you originally produce. A certain quantity of art-intellect is born annually in every nation, greater or less according to the nature and cultivation of the nation, or race of men; but a perfectly fixed quantity annually, not increasable by one grain. You may lose it, or you may gather it; you may let it lie loose in the ravine, and buried in the sands, or you may make kings' thrones of it, and overlay temple gates with it, as you choose: but the best you can do with it is always merely sifting, melting, hammering, purifying—never creating.
21. And there is another thing notable about this artistical gold; not only is it limited in quantity, but in use. You need not make thrones or golden gates with it unless you like, but assuredly you can't do anything else with it. You can't make knives of it, nor armour, nor railroads. The gold won't cut you, and it won't carry you: put it to a mechanical use, and you destroy it at once. It is quite true that in the greatest artists, their proper artistical faculty is united with every other; and you may make use of the other faculties, and let the artistical one lie dormant. For aught I know, there may be two or three Leonardo da Vincis employed at this moment in your harbours and railroads: but you are not employing their Leonardesque or golden faculty there,—you are only oppressing and destroying it. And the artistical gift in average men is not joined with others: your born painter, if you don't make a painter of him, won't be a first-rate merchant, or lawyer; at all events, whatever he turns out, his own special gift is unemployed by you; and in no wise helps him in that other business. So here you have a certain quantity of a particular sort of intelligence, produced for you annually by providential laws, which you can only make use of by setting it to its own proper work, and which any attempt to use otherwise involves the dead loss of so much human energy.
22. Well then, supposing we wish to employ it, how is it to be best discovered and refined? It is easily enough discovered. To wish to employ it is to discover it. All that you need is, a school of trial in every important town, in which those idle farmers' lads whom their masters never can keep out of mischief, and those stupid tailors' 'prentices who are always stitching the sleeves in wrong way upwards, may have a try at this other trade; only this school of trial must not be entirely regulated by formal laws of art education, but must ultimately be the workshop of a good master painter, who will try the lads with one kind of art and another, till he finds out what they are fit for.
[Note 4: See note 3rd, in Addenda.]
23. Next, after your trial school, you want your easy and secure employment, which is the matter of chief importance. For, even on the present system, the boys who have really intense art capacity, generally make painters of themselves; but then, the best half of their early energy is lost in the battle of life. Before a good painter can get employment, his mind has always been embittered, and his genius distorted. A common mind usually stoops, in plastic chill, to whatever is asked of it, and scrapes or daubs its way complacently into public favour. But your great men quarrel with you, and you revenge yourselves by starving them for the first half of their lives. Precisely in the degree in which any painter possesses original genius, is at present the increase of moral certainty that during his early years he will have a hard battle to fight; and that just at the time when his conceptions ought to be full and happy, his temper gentle, and his hopes enthusiastic—just at that most critical period, his heart is full of anxieties and household cares; he is chilled by disappointments, and vexed by injustice; he becomes obstinate in his errors, no less than in his virtues, and the arrows of his aims are blunted, as the reeds of his trust are broken.
[Note 5: See note 4th, in Addenda.]
24. What we mainly want, therefore, is a means of sufficient and unagitated employment: not holding out great prizes for which young painters are to scramble; but furnishing all with adequate support, and opportunity to display such power as they possess without rejection or mortification. I need not say that the best field of labour of this kind would be presented by the constant progress of public works involving various decoration; and we will presently examine what kind of public works may thus, advantageously for the nation, be in constant progress. But a more important matter even than this of steady employment, is the kind of criticism with which you, the public, receive the works of the young men submitted to you. You may do much harm by indiscreet praise and by indiscreet blame; but remember the chief harm is always done by blame. It stands to reason that a young man's work cannot be perfect. It must be more or less ignorant; it must be more or less feeble; it is likely that it may be more or less experimental, and if experimental, here and there mistaken. If, therefore, you allow yourself to launch out into sudden barking at the first faults you see, the probability is that you are abusing the youth for some defect naturally and inevitably belonging to that stage of his progress; and that you might just as rationally find fault with a child for not being as prudent as a privy councillor, or with a kitten for not being as grave as a cat.
25. But there is one fault which you may be quite sure is unnecessary, and therefore a real and blamable fault: that is haste, involving negligence. Whenever you see that a young man's work is either bold or slovenly, then you may attack it firmly; sure of being right. If his work is bold, it is insolent; repress his insolence: if it is slovenly, it is indolent; spur his indolence. So long as he works in that dashing or impetuous way, the best hope for him is in your contempt: and it is only by the fact of his seeming not to seek your approbation that you may conjecture he deserves it.
26. But if he does deserve it, be sure that you give it him, else you not only run a chance of driving him from the right road by want of encouragement, but you deprive yourselves of the happiest privilege you will ever have of rewarding his labour. For it is only the young who can receive much reward from men's praise: the old, when they are great, get too far beyond and above you to care what you think of them. You may urge them then with sympathy, and surround them then with acclamation; but they will doubt your pleasure, and despise your praise. You might have cheered them in their race through the asphodel meadows of their youth; you might have brought the proud, bright scarlet into their faces, if you had but cried once to them "Well done," as they dashed up to the first goal of their early ambition. But now, their pleasure is in memory, and their ambition is in heaven. They can be kind to you, but you nevermore can be kind to them. You may be fed with the fruit and fulness of their old age, but you were as the nipping blight to them in their blossoming, and your praise is only as the warm winds of autumn to the dying branches.
27. There is one thought still, the saddest of all, bearing on this withholding of early help. It is possible, in some noble natures, that the warmth and the affections of childhood may remain unchilled, though unanswered; and that the old man's heart may still be capable of gladness, when the long-withheld sympathy is given at last. But in these noble natures it nearly always happens that the chief motive of earthly ambition has not been to give delight to themselves, but to their parents. Every noble youth looks back, as to the chiefest joy which this world's honour ever gave him, to the moment when first he saw his father's eyes flash with pride, and his mother turn away her head, lest he should take her tears for tears of sorrow. Even the lover's joy, when some worthiness of his is acknowledged before his mistress, is not so great as that, for it is not so pure—the desire to exalt himself in her eyes mixes with that of giving her delight; but he does not need to exalt himself in his parents' eyes: it is with the pure hope of giving them pleasure that he comes to tell them what he has done, or what has been said of him; and therefore he has a purer pleasure of his own. And this purest and best of rewards you keep from him if you can: you feed him in his tender youth with ashes and dishonour; and then you come to him, obsequious, but too late, with your sharp laurel crown, the dew all dried from off its leaves; and you thrust it into his languid hand, and he looks at you wistfully. What shall he do with it? What can he do, but go and lay it on his mother's grave?
28. Thus, then, you see that you have to provide for your young men: first, the searching or discovering school; then the calm employment; then the justice of praise: one thing more you have to do for them in preparing them for full service—namely, to make, in the noble sense of the word, gentlemen of them; that is to say, to take care that their minds receive such training, that in all they paint they shall see and feel the noblest things. I am sorry to say, that of all parts of an artist's education, this is the most neglected among us; and that even where the natural taste and feeling of the youth have been pure and true, where there was the right stuff in him to make a gentleman of, you may too frequently discern some jarring rents in his mind, and elements of degradation in his treatment of subject, owing to want of gentle training, and of the liberal influence of literature. This is quite visible in our greatest artists, even in men like Turner and Gainsborough; while in the common grade of our second-rate painters the evil attains a pitch which is far too sadly manifest to need my dwelling upon it. Now, no branch of art economy is more important than that of making the intellect at your disposal pure as well as powerful; so that it may always gather for you the sweetest and fairest things. The same quantity of labour from the same man's hand, will, according as you have trained him, produce a lovely and useful work, or a base and hurtful one; and depend upon it, whatever value it may possess, by reason of the painter's skill, its chief and final value, to any nation, depends upon its being able to exalt and refine, as well as to please; and that the picture which most truly deserves the name of an art-treasure is that which has been painted by a good man.
29. You cannot but see how far this would lead, if I were to enlarge upon it. I must take it up as a separate subject some other time: only noticing at present that no money could be better spent by a nation than in providing a liberal and disciplined education for its painters, as they advance into the critical period of their youth; and that, also, a large part of their power during life depends upon the kind of subjects which you, the public, ask them for, and therefore the kind of thoughts with which you require them to be habitually familiar. I shall have more to say on this head when we come to consider what employment they should have in public buildings.
30. There are many other points of nearly as much importance as these, to be explained with reference to the development of genius; but I should have to ask you to come and hear six lectures instead of two if I were to go into their detail. For instance, I have not spoken of the way in which you ought to look for those artificers in various manual trades, who, without possessing the order of genius which you would desire to devote to higher purposes, yet possess wit, and humour, and sense of colour, and fancy for form—all commercially valuable as quantities of intellect, and all more or less expressible in the lower arts of iron-work, pottery, decorative sculpture, and such like. But these details, interesting as they are, I must commend to your own consideration, or leave for some future inquiry. I want just now only to set the bearings of the entire subject broadly before you, with enough of detailed illustration to make it intelligible; and therefore I must quit the first head of it here, and pass to the second—namely, how best to employ the genius we discover. A certain quantity of able hands and heads being placed at our disposal, what shall we most advisably set them upon?
31. II. APPLICATION.—There are three main points the economist has to attend to in this.
First, To set his men to various work.
Secondly, To easy work.
Thirdly, To lasting work.
I shall briefly touch on the first two, for I want to arrest your attention on the last.
32. I say first to various work. Supposing you have two men of equal power as landscape painters—and both of them have an hour at your disposal. You would not set them both to paint the same piece of landscape. You would, of course, rather have two subjects than a repetition of one.
Well, supposing them sculptors, will not the same rule hold? You naturally conclude at once that it will; but you will have hard work to convince your modern architects of that. They will put twenty men to work, to carve twenty capitals; and all shall be the same. If I could show you the architects' yards in England just now, all open at once, perhaps you might see a thousand clever men, all employed in carving the same design. Of the degradation and deathfulness to the art-intellect of the country involved in such a habit, I have more or less been led to speak before now; but I have not hitherto marked its definite tendency to increase the price of work, as such. When men are employed continually in carving the same ornaments, they get into a monotonous and methodical habit of labour—precisely correspondent to that in which they would break stones, or paint house-walls. Of course, what they do so constantly, they do easily; and if you excite them temporarily by an increase of wages, you may get much work done by them in a little time. But, unless so stimulated, men condemned to a monotonous exertion, work—and always, by the laws of human nature, must work—only at a tranquil rate, not producing by any means a maximum result in a given time. But if you allow them to vary their designs, and thus interest their heads and hearts in what they are doing, you will find them become eager, first, to get their ideas expressed, and then to finish the expression of them; and the moral energy thus brought to bear on the matter quickens, and therefore cheapens, the production in a most important degree. Sir Thomas Deane, the architect of the new Museum at Oxford, told me, as I passed through Oxford on my way here, that he found that, owing to this cause alone, capitals of various design could be executed cheaper than capitals of similar design (the amount of hand labour in each being the same) by about 30 per cent.
33. Well, that is the first way, then, in which you will employ your intellect well; and the simple observance of this plain rule of political economy will effect a noble revolution in your architecture, such as you cannot at present so much as conceive. Then the second way in which we are to guard against waste is by setting our men to the easiest, and therefore the quickest, work which will answer the purpose. Marble, for instance, lasts quite as long as granite, and is much softer to work; therefore, when you get hold of a good sculptor, give him marble to carve—not granite.
34. That, you say, is obvious enough. Yes; but it is not so obvious how much of your workmen's time you waste annually in making them cut glass, after it has got hard, when you ought to make them mould it while it is soft. It is not so obvious how much expense you waste in cutting diamonds and rubies, which are the hardest things you can find, into shapes that mean nothing, when the same men might be cutting sandstone and freestone into shapes that meant something. It is not so obvious how much of the artists' time in Italy you waste, by forcing them to make wretched little pictures for you out of crumbs of stone glued together at enormous cost, when the tenth of the time would make good and noble pictures for you out of water-colour.
35. I could go on giving you almost numberless instances of this great commercial mistake; but I should only weary and confuse you. I therefore commend also this head of our subject to your own meditation, and proceed to the last I named—the last I shall task your patience with to-night. You know we are now considering how to apply our genius; and we were to do it as economists, in three ways:—
To various work;
To easy work;
To lasting work.
36. This lasting of the work, then, is our final question.
Many of you may perhaps remember that Michael Angelo was once commanded by Pietro di Medici to mould a statue out of snow, and that he obeyed the command. I am glad, and we have all reason to be glad, that such a fancy ever came into the mind of the unworthy prince, and for this cause: that Pietro di Medici then gave, at the period of one great epoch of consummate power in the arts, the perfect, accurate, and intensest possible type of the greatest error which nations and princes can commit, respecting the power of genius entrusted to their guidance. You had there, observe, the strongest genius in the most perfect obedience; capable of iron independence, yet wholly submissive to the patron's will; at once the most highly accomplished and the most original, capable of doing as much as man could do, in any direction that man could ask. And its governor, and guide, and patron sets it to build a statue in snow—to put itself into the service of annihilation—to make a cloud of itself, and pass away from the earth.
[Note 6: See the noble passage on this tradition in "Casa Guidi Windows."]
37. Now this, so precisely and completely done by Pietro di Medici, is what we are all doing, exactly in the degree in which we direct the genius under our patronage to work in more or less perishable materials. So far as we induce painters to work in fading colours, or architects to build with imperfect structure, or in any other way consult only immediate ease and cheapness in the production of what we want, to the exclusion of provident thought as to its permanence and serviceableness in after ages; so far we are forcing our Michael Angelos to carve in snow. The first duty of the economist in art is, to see that no intellect shall thus glitter merely in the manner of hoar-frost; but that it shall be well vitrified, like a painted window, and shall be set so between shafts of stone and bands of iron, that it shall bear the sunshine upon it, and send the sunshine through it, from generation to generation.
38. I can conceive, however, some political economist to interrupt me here, and say, "If you make your art wear too well, you will soon have too much of it; you will throw your artists quite out of work. Better allow for a little wholesome evanescence—beneficent destruction: let each age provide art for itself, or we shall soon have so many good pictures that we shall not know what to do with them."
Remember, my dear hearers, who are thus thinking, that political economy, like every other subject, cannot be dealt with effectively if we try to solve two questions at a time instead of one. It is one question, how to get plenty of a thing; and another, whether plenty of it will be good for us. Consider these two matters separately; never confuse yourself by interweaving one with the other. It is one question, how to treat your fields so as to get a good harvest; another, whether you wish to have a good harvest, or would rather like to keep up the price of corn. It is one question, how to graft your trees so as to grow most apples; and quite another, whether having such a heap of apples in the storeroom will not make them all rot.
39. Now, therefore, that we are talking only about grafting and growing, pray do not vex yourselves with thinking what you are to do with the pippins. It may be desirable for us to have much art, or little—we will examine that by-and-bye; but just now, let us keep to the simple consideration how to get plenty of good art if we want it. Perhaps it might be just as well that a man of moderate income should be able to possess a good picture, as that any work of real merit should cost 500l. or 1,000l.; at all events, it is certainly one of the branches of political economy to ascertain how, if we like, we can get things in quantities—plenty of corn, plenty of wine, plenty of gold, or plenty of pictures.
It has just been said, that the first great secret is to produce work that will last. Now, the conditions of work lasting are twofold: it must not only be in materials that will last, but it must be itself of a quality that will last—it must be good enough to bear the test of time. If it is not good, we shall tire of it quickly, and throw it aside—we shall have no pleasure in the accumulation of it. So that the first question of a good art-economist respecting any work is, Will it lose its flavour by keeping? It may be very amusing now, and look much like a work of genius; but what will be its value a hundred years hence?
You cannot always ascertain this. You may get what you fancy to be work of the best quality, and yet find to your astonishment that it won't keep. But of one thing you may be sure, that art which is produced hastily will also perish hastily; and that what is cheapest to you now, is likely to be dearest in the end.
40. I am sorry to say, the great tendency of this age is to expend its genius in perishable art of this kind, as if it were a triumph to burn its thoughts away in bonfires. There is a vast quantity of intellect and of labour consumed annually in our cheap illustrated publications; you triumph in them; and you think it so grand a thing to get so many woodcuts for a penny. Why, woodcuts, penny and all, are as much lost to you as if you had invested your money in gossamer. More lost, for the gossamer could only tickle your face, and glitter in your eyes; it could not catch your feet and trip you up: but the bad art can, and does; for you can't like good woodcuts as long as you look at the bad ones. If we were at this moment to come across a Titian woodcut, or a Duerer woodcut, we should not like it—those of us at least who are accustomed to the cheap work of the day. We don't like, and can't like, that long; but when we are tired of one bad cheap thing, we throw it aside and buy another bad cheap thing; and so keep looking at bad things all our lives. Now, the very men who do all that quick bad work for us are capable of doing perfect work. Only, perfect work can't be hurried, and therefore it can't be cheap beyond a certain point. But suppose you pay twelve times as much as you do now, and you have one woodcut for a shilling instead of twelve; and the one woodcut for a shilling is as good as art can be, so that you will never tire of looking at it; and is struck on good paper with good ink, so that you will never wear it out by handling it; while you are sick of your penny-each cuts by the end of the week, and have torn them mostly in half too. Isn't your shilling's worth the best bargain?
41. It is not, however, only in getting prints or woodcuts of the best kind that you will practise economy. There is a certain quality about an original drawing which you cannot get in a woodcut, and the best part of the genius of many men is only expressible in original work, whether with pen or ink—pencil or colours. This is not always the case; but in general, the best men are those who can only express themselves on paper or canvas; and you will therefore, in the long run, get most for your money by buying original work; proceeding on the principle already laid down, that the best is likely to be the cheapest in the end. Of course, original work cannot be produced under a certain cost. If you want a man to make you a drawing which takes him six days, you must, at all events, keep him for six days in bread and water, fire and lodging; that is the lowest price at which he can do it for you, but that is not very dear: and the best bargain which can possibly be made honestly in art—the very ideal of a cheap purchase to the purchaser—is the original work of a great man fed for as many days as are necessary on bread and water, or perhaps we may say with as many onions as will keep him in good humour. That is the way by which you will always get most for your money; no mechanical multiplication or ingenuity of commercial arrangements will ever get you a better penny's worth of art than that.
42. Without, however, pushing our calculations quite to this prison-discipline extreme, we may lay it down as a rule in art-economy, that original work is, on the whole, cheapest and best worth having. But precisely in proportion to the value of it as a production, becomes the importance of having it executed in permanent materials. And here we come to note the second main error of the day, that we not only ask our workmen for bad art, but we make them put it into bad substance. We have, for example, put a great quantity of genius, within the last twenty years, into water-colour drawing, and we have done this with the most reckless disregard whether either the colours or the paper will stand. In most instances, neither will. By accident, it may happen that the colours in a given drawing have been of good quality, and its paper uninjured by chemical processes. But you take not the least care to ensure these being so; I have myself seen the most destructive changes take place in water-colour drawings within twenty years after they were painted; and from all I can gather respecting the recklessness of modern paper manufacture, my belief is, that though you may still handle an Albert Duerer engraving, two hundred years old, fearlessly, not one-half of that time will have passed over your modern water-colours, before most of them will be reduced to mere white or brown rags; and your descendants, twitching them contemptuously into fragments between finger and thumb, will mutter against you, half in scorn and half in anger, "Those wretched nineteenth century people! they kept vapouring and fuming about the world, doing what they called business, and they couldn't make a sheet of paper that wasn't rotten."
43. And note that this is no unimportant portion of your art economy at this time. Your water-colour painters are becoming every day capable of expressing greater and better things; and their material is especially adapted to the turn of your best artists' minds. The value which you could accumulate in work of this kind would soon become a most important item in the national art-wealth, if only you would take the little pains necessary to secure its permanence. I am inclined to think, myself, that water-colour ought not to be used on paper at all, but only on vellum, and then, if properly taken care of, the drawing would be almost imperishable. Still, paper is a much more convenient material for rapid work; and it is an infinite absurdity not to secure the goodness of its quality, when we could do so without the slightest trouble. Among the many favours which I am going to ask from our paternal government, when we get it, will be that it will supply its little boys with good paper. You have nothing to do but to let the government establish a paper manufactory, under the superintendence of any of our leading chemists, who should be answerable for the safety and completeness of all the processes of the manufacture. The government stamp on the corner of your sheet of drawing-paper, made in the perfect way, should cost you a shilling, which would add something to the revenue; and when you bought a water-colour drawing for fifty or a hundred guineas, you would have merely to look in the corner for your stamp, and pay your extra shilling for the security that your hundred guineas were given really for a drawing, and not for a coloured rag. There need be no monopoly or restriction in the matter; let the paper manufacturers compete with the government, and if people liked to save their shilling, and take their chance, let them; only, the artist and purchaser might then be sure of good material, if they liked, and now they cannot be.
44. I should like also to have a government colour manufactory; though that is not so necessary, as the quality of colour is more within the artist's power of testing, and I have no doubt that any painter may get permanent colour from the respectable manufacturers, if he chooses. I will not attempt to follow the subject out at all as it respects architecture, and our methods of modern building; respecting which I have had occasion to speak before now.
45. But I cannot pass without some brief notice our habit—continually, as it seems to me, gaining strength—of putting a large quantity of thought and work, annually, into things which are either in their nature necessarily perishable, as dress; or else into compliances with the fashion of the day, in things not necessarily perishable, as plate. I am afraid almost the first idea of a young rich couple setting up house in London, is, that they must have new plate. Their father's plate may be very handsome, but the fashion is changed. They will have a new service from the leading manufacturer, and the old plate, except a few apostle spoons, and a cup which Charles the Second drank a health in to their pretty ancestress, is sent to be melted down, and made up with new flourishes and fresh lustre. Now, so long as this is the case—so long, observe, as fashion has influence on the manufacture of plate—so long you cannot have a goldsmith's art in this country. Do you suppose any workman worthy the name will put his brains into a cup, or an urn, which he knows is to go to the melting-pot in half a score years? He will not; you don't ask or expect it of him. You ask of him nothing but a little quick handicraft—a clever twist of a handle here, and a foot there, a convolvulus from the newest school of design, a pheasant from Landseer's game cards; a couple of sentimental figures for supporters, in the style of the signs of insurance offices, then a clever touch with the burnisher, and there's your epergne, the admiration of all the footmen at the wedding-breakfast, and the torment of some unfortunate youth who cannot see the pretty girl opposite to him, through its tyrannous branches.
46. But you don't suppose that that's goldsmith's work? Goldsmith's work is made to last, and made with the men's whole heart and soul in it; true goldsmith's work, when it exists, is generally the means of education of the greatest painters and sculptors of the day. Francia was a goldsmith; Francia was not his own name, but that of his master the jeweller; and he signed his pictures almost always, "Francia, the goldsmith," for love of his master; Ghirlandajo was a goldsmith, and was the master of Michael Angelo; Verrocchio was a goldsmith, and was the master of Leonardo da Vinci. Ghiberti was a goldsmith, and beat out the bronze gates which Michael Angelo said might serve for gates of Paradise. But if ever you want work like theirs again, you must keep it, though it should have the misfortune to become old-fashioned. You must not break it up, nor melt it any more. There is no economy in that; you could not easily waste intellect more grievously. Nature may melt her goldsmith's work at every sunset if she chooses; and beat it out into chased bars again at every sunrise; but you must not. The way to have a truly noble service of plate, is to keep adding to it, not melting it. At every marriage, and at every birth, get a new piece of gold or silver if you will, but with noble workmanship on it, done for all time, and put it among your treasures; that is one of the chief things which gold was made for, and made incorruptible for. When we know a little more of political economy, we shall find that none but partially savage nations need, imperatively, gold for their currency; but gold has been given us, among other things, that we might put beautiful work into its imperishable splendour, and that the artists who have the most wilful fancies may have a material which will drag out, and beat out, as their dreams require, and will hold itself together with fantastic tenacity, whatever rare and delicate service they set it upon.
[Note 7: Several reasons may account for the fact that goldsmith's work is so wholesome for young artists: first, that it gives great firmness of hand to deal for some time with a solid substance; again, that it induces caution and steadiness—a boy trusted with chalk and paper suffers an immediate temptation to scrawl upon it and play with it, but he dares not scrawl on gold, and he cannot play with it; and, lastly, that it gives great delicacy and precision of touch to work upon minute forms, and to aim at producing richness and finish of design correspondent to the preciousness of the material.]
[Note 8: See note in Addenda on the nature of property.]
47. So here is one branch of decorative art in which rich people may indulge themselves unselfishly; if they ask for good art in it, they may be sure in buying gold and silver plate that they are enforcing useful education on young artists. But there is another branch of decorative art in which I am sorry to say we cannot, at least under existing circumstances, indulge ourselves, with the hope of doing good to anybody: I mean the great and subtle art of dress.
48. And here I must interrupt the pursuit of our subject for a moment or two, in order to state one of the principles of political economy, which, though it is, I believe, now sufficiently understood and asserted by the leading masters of the science, is not yet, I grieve to say, acted upon by the plurality of those who have the management of riches. Whenever we spend money, we of course set people to work: that is the meaning of spending money; we may, indeed, lose it without employing anybody; but, whenever we spend it, we set a number of people to work, greater or less, of course, according to the rate of wages, but, in the long run, proportioned to the sum we spend. Well, your shallow people, because they see that however they spend money they are always employing somebody, and, therefore, doing some good, think and say to themselves, that it is all one how they spend it—that all their apparently selfish luxury is, in reality, unselfish, and is doing just as much good as if they gave all their money away, or perhaps more good; and I have heard foolish people even declare it as a principle of political economy, that whoever invented a new want conferred a good on the community. I have not words strong enough—at least, I could not, without shocking you, use the words which would be strong enough—to express my estimate of the absurdity and the mischievousness of this popular fallacy. So, putting a great restraint upon myself, and using no hard words, I will simply try to state the nature of it, and the extent of its influence.
[Note 9: See note 5th, in Addenda.]
49. Granted, that whenever we spend money for whatever purpose, we set people to work; and passing by, for the moment, the question whether the work we set them to is all equally healthy and good for them, we will assume that whenever we spend a guinea we provide an equal number of people with healthy maintenance for a given time. But, by the way in which we spend it, we entirely direct the labour of those people during that given time. We become their masters or mistresses, and we compel them to produce, within a certain period, a certain article. Now, that article may be a useful and lasting one, or it may be a useless and perishable one—it may be one useful to the whole community, or useful only to ourselves. And our selfishness and folly, or our virtue and prudence, are shown, not by our spending money, but by our spending it for the wrong or the right thing; and we are wise and kind, not in maintaining a certain number of people for a given period, but only in requiring them to produce during that period, the kind of things which shall be useful to society, instead of those which are only useful to ourselves.
50. Thus, for instance: if you are a young lady, and employ a certain number of sempstresses for a given time, in making a given number of simple and serviceable dresses—suppose, seven; of which you can wear one yourself for half the winter, and give six away to poor girls who have none, you are spending your money unselfishly. But if you employ the same number of sempstresses for the same number of days, in making four, or five, or six beautiful flounces for your own ball-dress—flounces which will clothe no one but yourself, and which you will yourself be unable to wear at more than one ball—you are employing your money selfishly. You have maintained, indeed, in each case, the same number of people; but in the one case you have directed their labour to the service of the community; in the other case you have consumed it wholly upon yourself. I don't say you are never to do so; I don't say you ought not sometimes to think of yourselves only, and to make yourselves as pretty as you can; only do not confuse coquettishness with benevolence, nor cheat yourselves into thinking that all the finery you can wear is so much put into the hungry mouths of those beneath you: it is not so; it is what you yourselves, whether you will or no, must sometimes instinctively feel it to be—it is what those who stand shivering in the streets, forming a line to watch you as you step out of your carriages, know it to be; those fine dresses do not mean that so much has been put into their mouths, but that so much has been taken out of their mouths.
51. The real politico-economical signification of every one of those beautiful toilettes, is just this: that you have had a certain number of people put for a certain number of days wholly under your authority, by the sternest of slave-masters—hunger and cold; and you have said to them, "I will feed you, indeed, and clothe you, and give you fuel for so many days; but during those days you shall work for me only: your little brothers need clothes, but you shall make none for them: your sick friend needs clothes, but you shall make none for her: you yourself will soon need another and a warmer dress, but you shall make none for yourself. You shall make nothing but lace and roses for me; for this fortnight to come, you shall work at the patterns and petals, and then I will crush and consume them away in an hour." You will perhaps answer—"It may not be particularly benevolent to do this, and we won't call it so; but at any rate we do no wrong in taking their labour when we pay them their wages: if we pay for their work, we have a right to it."
52. No;—a thousand times no. The labour which you have paid for, does indeed become, by the act of purchase, your own labour: you have bought the hands and the time of those workers; they are, by right and justice, your own hands, your own time. But have you a right to spend your own time, to work with your own hands, only for your own advantage?—much more, when, by purchase, you have invested your own person with the strength of others; and added to your own life, a part of the life of others? You may, indeed, to a certain extent, use their labour for your delight: remember, I am making no general assertions against splendour of dress, or pomp of accessories of life; on the contrary, there are many reasons for thinking that we do not at present attach enough importance to beautiful dress, as one of the means of influencing general taste and character. But I do say, that you must weigh the value of what you ask these workers to produce for you in its own distinct balance; that on its own worthiness or desirableness rests the question of your kindness, and not merely on the fact of your having employed people in producing it: and I say further, that as long as there are cold and nakedness in the land around you, so long there can be no question at all but that splendour of dress is a crime. In due time, when we have nothing better to set people to work at, it may be right to let them make lace and cut jewels; but as long as there are any who have no blankets for their beds, and no rags for their bodies, so long it is blanket-making and tailoring we must set people to work at—not lace.
53. And it would be strange, if at any great assembly which, while it dazzled the young and the thoughtless, beguiled the gentler hearts that beat beneath the embroidery, with a placid sensation of luxurious benevolence—as if by all that they wore in waywardness of beauty, comfort had been first given to the distressed, and aid to the indigent; it would be strange, I say, if, for a moment, the spirits of Truth and of Terror, which walk invisibly among the masques of the earth, would lift the dimness from our erring thoughts, and show us how—inasmuch as the sums exhausted for that magnificence would have given back the failing breath to many an unsheltered outcast on moor and street—they who wear it have literally entered into partnership with Death; and dressed themselves in his spoils. Yes, if the veil could be lifted not only from your thoughts, but from your human sight, you would see—the angels do see—on those gay white dresses of yours, strange dark spots, and crimson patterns that you knew not of—spots of the inextinguishable red that all the seas cannot wash away; yes, and among the pleasant flowers that crown your fair heads, and glow on your wreathed hair, you would see that one weed was always twisted which no one thought of—the grass that grows on graves.
54. It was not, however, this last, this clearest and most appalling view of our subject, that I intended to ask you to take this evening; only it is impossible to set any part of the matter in its true light, until we go to the root of it. But the point which it is our special business to consider is, not whether costliness of dress is contrary to charity; but whether it is not contrary to mere worldly wisdom: whether, even supposing we knew that splendour of dress did not cost suffering or hunger, we might not put the splendour better in other things than dress. And, supposing our mode of dress were really graceful or beautiful, this might be a very doubtful question; for I believe true nobleness of dress to be an important means of education, as it certainly is a necessity to any nation which wishes to possess living art, concerned with portraiture of human nature. No good historical painting ever yet existed, or ever can exist, where the dresses of the people of the time are not beautiful: and had it not been for the lovely and fantastic dressing of the thirteenth to the sixteenth centuries, neither French, nor Florentine, nor Venetian art could have risen to anything like the rank it reached. Still, even then, the best dressing was never the costliest; and its effect depended much more on its beautiful and, in early times, modest, arrangement, and on the simple and lovely masses of its colour, than on gorgeousness of clasp or embroidery.
55. Whether we can ever return to any of those more perfect types of form, is questionable; but there can be no more question that all the money we spend on the forms of dress at present worn, is, so far as any good purpose is concerned, wholly lost. Mind, in saying this, I reckon among good purposes the purpose which young ladies are said sometimes to entertain—of being married; but they would be married quite as soon (and probably to wiser and better husbands) by dressing quietly, as by dressing brilliantly: and I believe it would only be needed to lay fairly and largely before them the real good which might be effected by the sums they spend in toilettes, to make them trust at once only to their bright eyes and braided hair for all the mischief they have a mind to. I wish we could, for once, get the statistics of a London season. There was much complaining talk in Parliament, last week, of the vast sum the nation has given for the best Paul Veronese in Venice—14,000l.: I wonder what the nation meanwhile has given for its ball-dresses! Suppose we could see the London milliners' bills, simply for unnecessary breadths of slip and flounce, from April to July; I wonder whether 14,000l. would cover them. But the breadths of slip and flounce are by this time as much lost and vanished as last year's snow; only they have done less good: but the Paul Veronese will last for centuries, if we take care of it; and yet, we grumble at the price given for the painting, while no one grumbles at the price of pride.
56. Time does not permit me to go into any farther illustration of the various modes in which we build our statue out of snow, and waste our labour on things that vanish. I must leave you to follow out the subject for yourselves, as I said I should, and proceed, in our next lecture, to examine the two other branches of our subject—namely, how to accumulate our art, and how to distribute it. But, in closing, as we have been much on the topic of good government, both of ourselves and others, let me just give you one more illustration of what it means, from that old art of which, next evening, I shall try to convince you that the value, both moral and mercantile, is greater than we usually suppose.
57. One of the frescoes by Ambrozio Lorenzetti, in the town-hall of Siena, represents, by means of symbolical figures, the principles of Good Civic Government and of Good Government in general. The figure representing this noble Civic Government is enthroned, and surrounded by figures representing the Virtues, variously supporting or administering its authority. Now, observe what work is given to each of these virtues. Three winged ones—Faith, Hope, and Charity—surround the head of the figure; not in mere compliance with the common and heraldic laws of precedence among Virtues, such as we moderns observe habitually, but with peculiar purpose on the part of the painter. Faith, as thus represented ruling the thoughts of the Good Governor, does not mean merely religious faith, understood in those times to be necessary to all persons—governed no less than governors—but it means the faith which enables work to be carried out steadily, in spite of adverse appearances and expediencies; the faith in great principles, by which a civic ruler looks past all the immediate checks and shadows that would daunt a common man, knowing that what is rightly done will have a right issue, and holding his way in spite of pullings at his cloak and whisperings in his ear, enduring, as having in him a faith which is evidence of things unseen.
58. And Hope, in like manner, is here not the heavenward hope which ought to animate the hearts of all men; but she attends upon Good Government, to show that all such government is expectant as well as conservative; that if it ceases to be hopeful of better things, it ceases to be a wise guardian of present things: that it ought never, as long as the world lasts, to be wholly content with any existing state of institution or possession, but to be hopeful still of more wisdom and power; not clutching at it restlessly or hastily, but feeling that its real life consists in steady ascent from high to higher: conservative, indeed, and jealously conservative of old things, but conservative of them as pillars, not as pinnacles—as aids, but not as idols; and hopeful chiefly, and active, in times of national trial or distress, according to those first and notable words describing the queenly nation: "She riseth, while it is yet night."
59. And again, the winged Charity which is attendant on Good Government has, in this fresco, a peculiar office. Can you guess what? If you consider the character of contest which so often takes place among kings for their crowns, and the selfish and tyrannous means they commonly take to aggrandize or secure their power, you will, perhaps, be surprised to hear that the office of Charity is to crown the King. And yet, if you think of it a little, you will see the beauty of the thought which sets her in this function: since, in the first place, all the authority of a good governor should be desired by him only for the good of his people, so that it is only Love that makes him accept or guard his crown: in the second place, his chief greatness consists in the exercise of this love, and he is truly to be revered only so far as his acts and thoughts are those of kindness; so that Love is the light of his crown, as well as the giver of it: lastly, because his strength depends on the affections of his people, and it is only their love which can securely crown him, and for ever. So that Love is the strength of his crown as well as the light of it.
60. Then, surrounding the King, or in various obedience to him, appear the dependent virtues, as Fortitude, Temperance, Truth, and other attendant spirits, of all which I cannot now give account, wishing you only to notice the one to whom are entrusted the guidance and administration of the public revenues. Can you guess which it is likely to be? Charity, you would have thought, should have something to do with the business; but not so, for she is too hot to attend carefully to it. Prudence, perhaps, you think of in the next place. No, she is too timid, and loses opportunities in making up her mind. Can it be Liberality then? No: Liberality is entrusted with some small sums; but she is a bad accountant, and is allowed no important place in the exchequer. But the treasures are given in charge to a virtue of which we hear too little in modern times, as distinct from others; Magnanimity: largeness of heart: not softness or weakness of heart, mind you—but capacity of heart—the great measuring virtue, which weighs in heavenly balances all that may be given, and all that may be gained; and sees how to do noblest things in noblest ways: which of two goods comprehends and therefore chooses the greater: which of two personal sacrifices dares and accepts the larger: which, out of the avenues of beneficence, treads always that which opens farthest into the blue fields of futurity: that character, in fine, which, in those words taken by us at first for the description of a Queen among the nations, looks less to the present power than to the distant promise; "Strength and honour are in her clothing,—and she shall rejoice IN TIME TO COME."
THE ACCUMULATION AND DISTRIBUTION OF ART.
Continuation of the previous Lecture; delivered July 13, 1857.
61. The heads of our subject which remain for our consideration this evening are, you will remember, the accumulation and the distribution of works of art. Our complete inquiry fell into four divisions—first, how to get our genius; then, how to apply our genius; then, how to accumulate its results; and lastly, how to distribute them. We considered, last evening, how to discover and apply it;—we have to-night to examine the modes of its preservation and distribution.
62. III. ACCUMULATION.—And now, in the outset, it will be well to face that objection which we put aside a little while ago; namely, that perhaps it is not well to have a great deal of good art; and that it should not be made too cheap.
"Nay," I can imagine some of the more generous among you exclaiming, "we will not trouble you to disprove that objection; of course it is a selfish and base one: good art, as well as other good things, ought to be made as cheap as possible, and put as far as we can within the reach of everybody."
63. Pardon me, I am not prepared to admit that. I rather side with the selfish objectors, and believe that art ought not to be made cheap, beyond a certain point; for the amount of pleasure that you can receive from any great work, depends wholly on the quantity of attention and energy of mind you can bring to bear upon it. Now, that attention and energy depend much more on the freshness of the thing than you would at all suppose; unless you very carefully studied the movements of your own minds. If you see things of the same kind and of equal value very frequently, your reverence for them is infallibly diminished, your powers of attention get gradually wearied, and your interest and enthusiasm worn out; and you cannot in that state bring to any given work the energy necessary to enjoy it. If, indeed, the question were only between enjoying a great many pictures each a little, or one picture very much, the sum of enjoyment being in each case the same, you might rationally desire to possess rather the larger quantity than the small; both because one work of art always in some sort illustrates another, and because quantity diminishes the chances of destruction.
64. But the question is not a merely arithmetical one of this kind. Your fragments of broken admirations will not, when they are put together, make up one whole admiration; two and two, in this case, do not make four, nor anything like four. Your good picture, or book, or work of art of any kind, is always in some degree fenced and closed about with difficulty. You may think of it as of a kind of cocoanut, with very often rather an unseemly shell, but good milk and kernel inside. Now, if you possess twenty cocoanuts, and being thirsty, go impatiently from one to the other, giving only a single scratch with the point of your knife to the shell of each, you will get no milk from all the twenty. But if you leave nineteen of them alone, and give twenty cuts to the shell of one, you will get through it, and at the milk of it. And the tendency of the human mind is always to get tired before it has made its twenty cuts; and to try another nut: and moreover, even if it has perseverance enough to crack its nuts, it is sure to try to eat too many, and to choke itself. Hence, it is wisely appointed for us that few of the things we desire can be had without considerable labour, and at considerable intervals of time. We cannot generally get our dinner without working for it, and that gives us appetite for it, we cannot get our holiday without waiting for it, and that gives us zest for it; and we ought not to get our picture without paying for it, and that gives us a mind to look at it.