Chapter VI: Part 6

[Note 21: Or rather, equivalent to such real property, because everybody has been accustomed to look upon it as valuable; and therefore everybody is willing to give labour or goods for it. But real property does ultimately consist only in things that nourish body or mind; gold would be useless to us if we could not get mutton or books for it. Ultimately all commercial mistakes and embarrassments result from people expecting to get goods without working for them, or wasting them after they have got them. A nation which labours, and takes care of the fruits of labour, would be rich and happy though there were no gold in the universe. A nation which is idle, and wastes the produce of what work it does, would be poor and miserable, though all its mountains were of gold, and had glens filled with diamond instead of glacier.]

152. But without hoping for this excess of clear-sightedness, we may at least labour for a system of greater honesty and kindness in the minor commerce of our daily life; since the great dishonesty of the great buyers and sellers is nothing more than the natural growth and outcome from the little dishonesty of the little buyers and sellers. Every person who tries to buy an article for less than its proper value, or who tries to sell it at more than its proper value--every consumer who keeps a tradesman waiting for his money, and every tradesman who bribes a consumer to extravagance by credit, is helping forward, according to his own measure of power, a system of baseless and dishonourable commerce, and forcing his country down into poverty and shame. And people of moderate means and average powers of mind would do far more real good by merely carrying out stern principles of justice and honesty in common matters of trade, than by the most ingenious schemes of extended philanthropy, or vociferous declarations of theological doctrine. There are three weighty matters of the law--justice, mercy, and truth; and of these the Teacher puts truth last, because that cannot be known but by a course of acts of justice and love. But men put, in all their efforts, truth first, because they mean by it their own opinions; and thus, while the world has many people who would suffer martyrdom in the cause of what they call truth, it has few who will suffer even a little inconvenience, in that of justice and mercy.

SUPPLEMENTARY ADDITIONAL PAPERS.

EDUCATION IN ART.

ART SCHOOL NOTES.

SOCIAL POLICY.

EDUCATION IN ART.

(_Read for the author before the National Association for the Promotion of Social Science in the autumn of 1858; and printed in the Transactions of the Society for that year, pp. 311-16._)

153. I will not attempt in this paper to enter into any general consideration of the possible influence of art on the masses of the people. The inquiry is one of great complexity, involved with that into the uses and dangers of luxury; nor have we as yet data enough to justify us in conjecturing how far the practice of art may be compatible with rude or mechanical employments. But the question, however difficult, lies in the same light as that of the uses of reading or writing; for drawing, so far as it is possible to the multitude, is mainly to be considered as a means of obtaining and communicating knowledge. He who can accurately represent the form of an object, and match its colour, has unquestionably a power of notation and description greater in most instances than that of words; and this science of notation ought to be simply regarded as that which is concerned with the record of form, just as arithmetic is concerned with the record of number. Of course abuses and dangers attend the acquirement of every power. We have all of us probably known persons who, without being able to read or write, discharged the important duties of life wisely and faithfully; as we have also without doubt known others able to read and write whose reading did little good to themselves and whose writing little good to any one else. But we do not therefore doubt the expediency of acquiring those arts, neither ought we to doubt the expediency of acquiring the art of drawing, if we admit that it may indeed become practically useful.

154. Nor should we long hesitate in admitting this, it we were not in the habit of considering instruction in the arts chiefly as a means of promoting what we call "taste" or dilettanteism, and other habits of mind which in their more modern developments in Europe have certainly not been advantageous to nations, or indicative of worthiness in them. Nevertheless, true taste, or the instantaneous preference of the noble thing to the ignoble, is a necessary accompaniment of high worthiness in nations or men; only it is not to be acquired by seeking it as our chief object, since the first question, alike for man and for multitude, is not at all what they are to like, but what they are to do; and fortunately so, since true taste, so far as it depends on original instinct, is not equally communicable to all men; and, so far as it depends on extended comparison, is unattainable by men employed in narrow fields of life. We shall not succeed in making a peasant's opinion good evidence on the merits of the Elgin and Lycian marbles; nor is it necessary to dictate to him in his garden the preference of gillyflower or of rose; yet I believe we may make art a means of giving him helpful and happy pleasure, and of gaining for him serviceable knowledge.

155. Thus, in our simplest codes of school instruction, I hope some day to see local natural history assume a principal place, so that our peasant children may be taught the nature and uses of the herbs that grow in their meadows, and may take interest in observing and cherishing, rather than in hunting or killing, the harmless animals of their country. Supposing it determined that this local natural history should be taught, drawing ought to be used to fix the attention, and test, while it aided, the memory. "Draw such and such a flower in outline, with its bell towards you. Draw it with its side towards you. Paint the spots upon it. Draw a duck's head--her foot. Now a robin's--a thrush's--now the spots upon the thrush's breast." These are the kinds of tasks which it seems to me should be set to the young peasant student. Surely the occupation would no more be thought contemptible which was thus subservient to knowledge and to compassion; and perhaps we should find in process of time that the Italian connexion of art with _diletto_, or delight, was both consistent with, and even mainly consequent upon, a pure Greek connexion of art with _arete_, or virtue.

156. It may perhaps be thought that the power of representing in any sufficient manner natural objects such as those above instanced would be of too difficult attainment to be aimed at in elementary instruction. But I have had practical proof that it is not so. From workmen who had little time to spare, and that only after they were jaded by the day's labour, I have obtained, in the course of three or four months from their first taking a pencil in hand, perfectly useful, and in many respects admirable, drawings of natural objects. It is, however, necessary, in order to secure this result, that the student's aim should be absolutely restricted to the representation of visible fact. All more varied or elevated practice must be deferred until the powers of true sight and just representation are acquired in simplicity; nor, in the case of children belonging to the lower classes, does it seem to me often advisable to aim at anything more. At all events, their drawing lessons should be made as recreative as possible. Undergoing due discipline of hard labour in other directions, such children should be painlessly initiated into employments calculated for the relief of toil. It is of little consequence that they should know the principles of art, but of much that their attention should be pleasurably excited. In our higher public schools, on the contrary, drawing should be taught rightly; that is to say, with due succession and security of preliminary steps,--it being here of little consequence whether the student attains great or little skill, but of much that he should perceive distinctly what degree of skill he has attained, reverence that which surpasses it, and know the principles of right in what he has been able to accomplish. It is impossible to make every boy an artist or a connoisseur, but quite possible to make him understand the meaning of art in its rudiments, and to make him modest enough to forbear expressing, in after life, judgments which he has not knowledge enough to render just.

157. There is, however, at present this great difficulty in the way of such systematic teaching--that the public do not believe the principles of art are determinable, and, in no wise, matters of opinion. They do not believe that good drawing is good, and bad drawing bad, whatever any number of persons may think or declare to the contrary--that there is a right or best way of laying colours to produce a given effect, just as there is a right or best way of dyeing cloth of a given colour, and that Titian and Veronese are not merely accidentally admirable but eternally right.

158. The public, of course, cannot be convinced of this unity and stability of principle until clear assertion of it is made to them by painters whom they respect; and the painters whom they respect are generally too modest, and sometimes too proud, to make it. I believe the chief reason for their not having yet declared at least the fundamental laws of labour as connected with art-study is a kind of feeling on their part that "_cela va sans dire_." Every great painter knows so well the necessity of hard and systematized work, in order to attain even the lower degrees of skill, that he naturally supposes if people use no diligence in drawing, they do not care to acquire the power of it, and that the toil involved in wholesome study being greater than the mass of people have ever given, is also greater than they would ever be willing to give. Feeling, also, as any real painter feels, that his own excellence is a gift, no less than the reward of toil, perhaps slightly disliking to confess the labour it has cost him to perfect it, and wholly despairing of doing any good by the confession, he contemptuously leaves the drawing-master to do the best he can in his twelve lessons, and with courteous unkindness permits the young women of England to remain under the impression that they can learn to draw with less pains than they can learn to dance. I have had practical experience enough, however, to convince me that this treatment of the amateur student is unjust. Young girls will work with steadiest perseverance when once they understand the need of labour, and are convinced that drawing is a kind of language which may for ordinary purposes be learned as easily as French or German; this language, also, having its grammar and its pronunciation, to be conquered or acquired only by persistence in irksome exercise--an error in a form being as entirely and simply an error as a mistake in a tense, and an ill-drawn line as reprehensible as a vulgar accent.

159. And I attach great importance to the sound education of our younger females in art, thinking that in England the nursery and the drawing-room are perhaps the most influential of academies. We address ourselves in vain to the education of the artist while the demand for his work is uncertain or unintelligent; nor can art be considered as having any serious influence on a nation while gilded papers form the principal splendour of the reception room, and ill-wrought though costly trinkets the principal entertainment of the boudoir.

It is surely, therefore, to be regretted that the art-education of our Government schools is addressed so definitely to the guidance of the artizan, and is therefore so little acknowledged hitherto by the general public, especially by its upper classes. I have not acquaintance enough with the practical working of that system to venture any expression of opinion respecting its general expediency; but it is my conviction that, so far as references are involved in it to the designing of patterns capable of being produced by machinery, such references must materially diminish its utility considered as a general system of instruction.

160. We are still, therefore, driven to the same point,--the need of an authoritative recommendation of some method of study to the public; a method determined upon by the concurrence of some of our best painters, and avowedly sanctioned by them, so as to leave no room for hesitation in its acceptance.

Nor need it be thought that, because the ultimate methods of work employed by painters vary according to the particular effects produced by each, there would be any difficulty in obtaining their collective assent to a system of elementary precept. The facts of which it is necessary that the student should be assured in his early efforts, are so simple, so few, and so well known to all able draughtsmen that, as I have just said, it would be rather doubt of the need of stating what seemed to them self-evident, than reluctance to speak authoritatively on points capable of dispute, that would stand in the way of their giving form to a code of general instruction. To take merely two instances: It will perhaps appear hardly credible that among amateur students, however far advanced in more showy accomplishments, there will not be found one in a hundred who can make an accurate drawing to scale. It is much if they can copy anything with approximate fidelity of its real size. Now, the inaccuracy of eye which prevents a student from drawing to scale is in fact nothing else than an entire want of appreciation of proportion, and therefore of composition. He who alters the relations of dimensions to each other in his copy, shows that he does not enjoy those relations in the original--that is to say, that all appreciation of noble design (which is based on the most exquisite relations of magnitude) is impossible to him. To give him habits of mathematical accuracy in transference of the outline of complex form, is therefore among the first, and even among the most important, means of educating his taste. A student who can fix with precision the cardinal points of a bird's wing, extended in any fixed position, and can then draw the curves of its individual plumes without measurable error, has advanced further towards a power of understanding the design of the great masters than he could by reading many volumes of criticism, or passing many months in undisciplined examination of works of art.

161. Again, it will be found that among amateur students there is almost universal deficiency in the power of expressing the roundness of a surface. They frequently draw with considerable dexterity and vigour, but never attain the slightest sense of those modulations in form which can only be expressed by gradations in shade. They leave sharp edges to their blots of colour, sharp angles in their contours of lines, and conceal from themselves their incapacity of completion by redundance of object. The assurance to such persons that no object could be rightly seen or drawn until the draughtsman had acquired the power of modulating surfaces by gradations wrought with some pointed instrument (whether pen, pencil, or chalk), would at once prevent much vain labour, and put an end to many errors of that worst kind which not only retard the student, but blind him; which prevent him from either attaining excellence himself, or understanding it in others.

162. It would be easy, did time admit it, to give instances of other principles which it is equally essential that the student should know, and certain that all painters of eminence would sanction; while even those respecting which some doubt may exist in their application to consummate practice, are yet perfectly determinable, so far as they are needed to guide a beginner. It may, for instance, be a question how far local colour should be treated as an element of chiaroscuro in a master's drawing of the human form. But there can be no question that it must be so treated in a boy's study of a tulip or a trout.

163. A still more important point would be gained if authoritative testimony of the same kind could be given to the merit and exclusive sufficiency of any series of examples of works of art, such as could at once be put within the reach of masters of schools. For the modern student labours under heavy disadvantages in what at first sight might appear an assistance to him, namely, the number of examples of many different styles which surround him in galleries or museums. His mind is disturbed by the inconsistencies of various excellences, and by his own predilection for false beauties in second or third-rate works. He is thus prevented from observing any one example long enough to understand its merit, or following any one method long enough to obtain facility in its practice. It seems, therefore, very desirable that some such standard of art should be fixed for all our schools,--a standard which, it must be remembered, need not necessarily be the highest possible, provided only it is the rightest possible. It is not to be hoped that the student should imitate works of the most exalted merit, but much to be desired that he should be guided by those which have fewest faults.

164. Perhaps, therefore, the most serviceable examples which could be set before youth might be found in the studies or drawings, rather than in the pictures, of first-rate masters; and the art of photography enables us to put renderings of such studies, which for most practical purposes are as good as the originals, on the walls of every school in the kingdom. Supposing (I merely name these as examples of what I mean), the standard of manner in light-and-shade drawing fixed by Leonardo's study, No. 19, in the collection of photographs lately published from drawings in the Florence Gallery; the standard of pen drawing with a wash, fixed by Titian's sketch, No. 30 in the same collection; that of etching, fixed by Rembrandt's spotted shell; and that of point work with the pure line, by Dürer's crest with the cock; every effort of the pupil, whatever the instrument in his hand, would infallibly tend in a right direction, and the perception of the merits of these four works, or of any others like them, once attained thoroughly, by efforts, however distant or despairing, to copy portions of them, would lead securely in due time to the appreciation of other modes of excellence.

165. I cannot, of course, within the limits of this paper, proceed to any statement of the present requirements of the English operative as regards art education. But I do not regret this, for it seems to me very desirable that our attention should for the present be concentrated on the more immediate object of general instruction. Whatever the public demand the artist will soon produce; and the best education which the operative can receive is the refusal of bad work and the acknowledgment of good. There is no want of genius among us, still less of industry. The least that we do is laborious, and the worst is wonderful. But there is a want among us, deep and wide, of discretion in directing toil, and of delight in being led by imagination. In past time, though the masses of the nation were less informed than they are now, they were for that very reason simpler judges and happier gazers; it must be ours to substitute the gracious sympathy of the understanding for the bright gratitude of innocence. An artist can always paint well for those who are lightly pleased or wisely displeased, but he cannot paint for those who are dull in applause and false in condemnation.

REMARKS ADDRESSED

TO THE MANSFIELD ART NIGHT CLASS

_Oct. 14th, 1873._[22]

166. It is to be remembered that the giving of prizes can only be justified on the ground of their being the reward of superior diligence and more obedient attention to the directions of the teacher. They must never be supposed, because practically they never can become, indications of superior genius; unless in so far as genius is likely to be diligent and obedient, beyond the strength and temper of the dull.

[Note 22: This address was written for the Art Night Class, Mansfield, but not delivered by me. In my absence--I forget from what cause, but inevitable--the Duke of St. Albans honoured me by reading it to the meeting.]

But it so frequently happens that the stimulus of vanity, acting on minds of inferior calibre, produces for a time an industry surpassing the tranquil and self-possessed exertion of real power, that it may be questioned whether the custom of bestowing prizes at all may not ultimately cease in our higher Schools of Art, unless in the form of substantial assistance given to deserving students who stand in need of it: a kind of prize, the claim to which, in its nature, would depend more on accidental circumstances, and generally good conduct, than on genius.

167. But, without any reference to the opinion of others, and without any chance of partiality in your own, there is one test by which you can all determine the rate of your real progress.

Examine, after every period of renewed industry, how far you have enlarged your faculty of _admiration_.

Consider how much more you can see, to reverence, in the work of masters; and how much more to love, in the work of nature.

This is the only constant and infallible test of progress. That you wonder more at the work of great men, and that you care more for natural objects.

You have often been told by your teachers to expect this last result: but I fear that the tendency of modern thought is to reject the idea of that essential difference in rank between one intellect and another, of which increasing reverence is the wise acknowledgment.

You may, at least in early years, test accurately your power of doing anything in the least rightly, by your increasing conviction that you never will be able to do it as well as it has been done by others.

168. That is a lesson, I repeat, which differs much, I fear, from the one you are commonly taught. The vulgar and incomparably false saying of Macaulay's, that the intellectual giants of one age become the intellectual pigmies of the next, has been the text of too many sermons lately preached to you.

You think you are going to do better things--each of you--than Titian and Phidias--write better than Virgil--think more wisely than Solomon.

My good young people, this is the foolishest, quite pre-eminently--perhaps almost the harmfullest--notion that could possibly be put into your empty little eggshells of heads. There is not one in a million of you who can ever be great in _any_ thing. To be greater than the greatest that _have_ been, is permitted perhaps to one man in Europe in the course of two or three centuries. But because you cannot be Handel and Mozart--is it any reason why you should not learn to sing "God save the Queen" properly, when you have a mind to? Because a girl cannot be prima donna in the Italian Opera, is it any reason that she should not learn to play a jig for her brothers and sisters in good time, or a soft little tune for her tired mother, or that she should not sing to please herself, among the dew, on a May morning? Believe me, joy, humility, and usefulness, always go together: as insolence with misery, and these both with destructiveness. You may learn with proud teachers how to throw down the Vendôme Column, and burn the Louvre, but never how to lay so much as one touch of safe colour, or one layer of steady stone: and if indeed there be among you a youth of true genius, be assured that he will distinguish himself first, not by petulance or by disdain, but by discerning firmly what to admire, and whom to obey.

169. It will, I hope, be the result of the interest lately awakened in art through our provinces, to enable each town of importance to obtain, in permanent possession, a few--and it is desirable there should be no more than a few--examples of consummate and masterful art: an engraving or two by Dürer--a single portrait by Reynolds--a fifteenth century Florentine drawing--a thirteenth century French piece of painted glass, and the like; and that, in every town occupied in a given manufacture, examples of unquestionable excellence in that manufacture should be made easily accessible in its civic museum.

I must ask you, however, to observe very carefully that I use the word _manufacture_ in its literal and proper sense. It means the making of things _by the hand_. It does not mean the making them by machinery. And, while I plead with you for a true humility in rivalship with the works of others, I plead with you also for a just pride in what you really can honestly do yourself.

You must neither think your work the best ever done by man:--nor, on the other hand, think that the tongs and poker can do better--and that, although you are wiser than Solomon, all this wisdom of yours can be outshone by a shovelful of coke.

170. Let me take, for instance, the manufacture of lace, for which, I believe, your neighbouring town of Nottingham enjoys renown. There is still some distinction between machine-made and hand-made lace. I will suppose that distinction so far done away with, that, a pattern once invented, you can spin lace as fast as you now do thread. Everybody then might wear, not only lace collars, but lace gowns. Do you think they would be more comfortable in them than they are now in plain stuff--or that, when everybody could wear them, anybody would be proud of wearing them? A spider may perhaps be rationally proud of his own cobweb, even though all the fields in the morning are covered with the like, for he made it himself--but suppose a machine spun it for him?

Suppose all the gossamer were Nottingham-made, would a sensible spider be either prouder, or happier, think you?

A sensible spider! You cannot perhaps imagine such a creature. Yet surely a spider is clever enough for his own ends?

You think him an insensible spider, only because he cannot understand yours--and is apt to impede yours. Well, be assured of this, sense in human creatures is shown also, not by cleverness in promoting their own ends and interests, but by quickness in understanding other people's ends and interests, and by putting our own work and keeping our own wishes in harmony with theirs.

171. But I return to my point, of cheapness. You don't think that it would be convenient, or even creditable, for women to wash the doorsteps or dish the dinners in lace gowns? Nay, even for the most ladylike occupations--reading, or writing, or playing with her children--do you think a lace gown, or even a lace collar, so great an advantage or dignity to a woman? If you think of it, you will find the whole value of lace, as a possession, depends on the fact of its having a beauty which has been the reward of industry and attention.

That the thing itself is a prize--a thing which everybody cannot have. That it proves, by the _look_ of it, the _ability_ of its _maker_; that it proves, by the _rarity_ of it, the _dignity_ of its _wearer_--either that she has been so industrious as to save money, which can buy, say, a piece of jewellery, of gold tissue, or of fine lace--or else, that she is a noble person, to whom her neighbours concede, as an honour, the privilege of wearing finer dresses than they.

If they all choose to have lace too--if it ceases to be a prize--it becomes, does it not, only a cobweb?

The real good of a piece of lace, then, you will find, is that it should show, first, that the designer of it had a pretty fancy; next, that the maker of it had fine fingers; lastly, that the wearer of it has worthiness or dignity enough to obtain what is difficult to obtain, and common sense enough not to wear it on all occasions. I limit myself, in what farther I have to say, to the question of the manufacture--nay, of one requisite in the manufacture: that which I have just called a pretty fancy.

172. What do you suppose I mean by a pretty fancy? Do you think that, by learning to draw, and looking at flowers, you will ever get the ability to design a piece of lace beautifully? By no means. If that were so, everybody would soon learn to draw--everybody would design lace prettily--and then,--nobody would be paid for designing it. To some extent, that will indeed be the result of modern endeavour to teach design. But against all such endeavours, mother-wit, in the end, will hold her own.

But anybody who _has_ this mother-wit, may make the exercise of it more pleasant to themselves, and more useful to other people, by learning to draw.

An Indian worker in gold, or a Scandinavian worker in iron, or an old French worker in thread, could produce indeed beautiful design out of nothing but groups of knots and spirals: but you, when you are rightly educated, may render your knots and spirals infinitely more interesting by making them suggestive of natural forms, and rich in elements of true knowledge.

173. You know, for instance, the pattern which for centuries has been the basis of ornament in Indian shawls--the bulging leaf ending in a spiral. The Indian produces beautiful designs with nothing but that spiral. You cannot better his powers of design, but you may make them more civil and useful by adding knowledge of nature to invention.

Suppose you learn to draw rightly, and, therefore, to know correctly the spirals of springing ferns--not that you may give ugly names to all the species of them--but that you may understand the grace and vitality of every hour of their existence. Suppose you have sense and cleverness enough to translate the essential character of this beauty into forms expressible by simple lines--therefore expressible by thread--you might then have a series of fern-patterns which would each contain points of distinctive interest and beauty, and of scientific truth, and yet be variable by fancy, with quite as much ease as the meaningless Indian one. Similarly, there is no form of leaf, of flower, or of insect, which might not become suggestive to you, and expressible in terms of manufacture, so as to be interesting, and useful to others.

174. Only don't think that this kind of study will ever "pay" in the vulgar sense.

It will make you wiser and happier. But do you suppose that it is the law of God, or nature, that people shall be paid in money for becoming wiser and happier? They are so, by that law, for honest work; and as all honest work makes people wiser and happier, they are indeed, in some sort, paid in money for becoming wise.

But if you seek wisdom only that you may get money, believe me, you are exactly on the foolishest of all fools' errands. "She is more precious than rubies"--but do you think that is only because she will help you to buy rubies?

"All the things thou canst desire are not to be compared to her." Do you think that is only because she will enable you to get all the things you desire? She is offered to you as a blessing _in herself_. She is the reward of kindness, of modesty, of industry. She is the prize of Prizes--and alike in poverty or in riches--the strength of your Life now, the earnest of whatever Life is to come.

SOCIAL POLICY

BASED ON NATURAL SELECTION.

_Paper read before the Metaphysical Society, May 11th, 1875._[23]

175. It has always seemed to me that Societies like this of ours, happy in including members not a little diverse in thought and various in knowledge, might be more useful to the public than perhaps they can fairly be said to have approved themselves hitherto, by using their variety of power rather to support intellectual conclusions by concentric props, than to shake them with rotatory storms of wit; and modestly endeavouring to initiate the building of walls for the Bridal city of Science, in which no man will care to identify the particular stones he lays, rather than complying farther with the existing picturesque, but wasteful, practice of every knight to throw up a feudal tower of his own opinions, tenable only by the most active pugnacity, and pierced rather with arrow-slits from which to annoy his neighbours, than windows to admit light or air.

[Note 23: I trust that the Society will not consider its privileges violated by the publication of an essay, which, for such audience, I wrote with more than ordinary care.]

176. The paper read at our last meeting was unquestionably, within the limits its writer had prescribed to himself, so logically sound, that (encouraged also by the suggestion of some of our most influential members), I shall endeavour to make the matter of our to-night's debate consequent upon it, and suggestive of possibly further advantageous deductions.

It will be remembered that, in reference to the statement in the Bishop of Peterborough's Paper, of the moral indifference of certain courses of conduct on the postulate of the existence only of a Mechanical base of Morals, it was observed by Dr. Adam Clarke that, even on such mechanical basis, the word "moral" might still be applied specially to any course of action which tended to the development of the human race. Whereupon I ventured myself to inquire, in what direction such development was to be understood as taking place; and the discussion of this point being then dropped for want of time, I would ask the Society's permission to bring it again before them this evening in a somewhat more extended form; for in reality the question respecting the development of men is twofold,--first, namely, in what direction; and secondly, in what social relations, it is to be sought.

I would therefore at present ask more deliberately than I could at our last meeting,--first, in what direction it is desirable that the development of humanity should take place? Should it, for instance, as in Greece, be of physical beauty,--emulation, (Hesiod's second Eris),--pugnacity, and patriotism? or, as in modern England, of physical ugliness,--envy, (Hesiod's first Eris),--cowardice, and selfishness? or, as by a conceivably humane but hitherto unexampled education might be attempted, of physical beauty, humility, courage, and affection, which should make all the world one native land, and [Greek: pasa gê taphos]?

177. I do not doubt but that the first automatic impulse of all our automatic friends here present, on hearing this sentence, will be strenuously to deny the accuracy of my definition of the aims of modern English education. Without attempting to defend it, I would only observe that this automatic development of solar caloric in scientific minds must be grounded on an automatic sensation of injustice done to the members of the School Board, as well as to many other automatically well-meaning and ingenious persons; and that this sense of the injuriousness and offensiveness of my definition cannot possibly have any other basis (if I may be permitted to continue my professional similitudes) than the fallen remnants and goodly stones, not one now left on another, but still forming an unremovable cumulus of ruin, and eternal Birs Nimroud, as it were, on the site of the old belfry of Christian morality, whose top looked once so like touching Heaven.

For no offence could be taken at my definition, unless traceable to adamantine conviction,--that ugliness, however indefinable, envy, however natural, and cowardice, however commercially profitable, are nevertheless eternally disgraceful; contrary, that is to say, to the grace of our Lord Christ, if there be among us any Christ; to the grace of the King's Majesty, if there be among us any King; and to the grace even of Christless and Kingless Manhood, if there be among us any Manhood.

To this fixed conception of a difference between Better and Worse, or, when carried to the extreme, between good and evil in conduct, we all, it seems to me, instinctively and, therefore, rightly, attach the term of Moral sense;--the sense, for instance, that it would be better if the members of this Society who are usually automatically absent were, instead, automatically present; or better, that this Paper, if (which is, perhaps, too likely) it be thought automatically impertinent, had been made by the molecular action of my cerebral particles, pertinent.

178. Trusting, therefore, without more ado, to the strength of rampart in this Old Sarum of the Moral sense, however subdued into vague banks under the modern steam-plough, I will venture to suppose the first of my two questions to have been answered by the choice on the part at least of a majority of our Council, of the third direction of development above specified as being the properly called "moral" one; and will go on to the second subject of inquiry, both more difficult and of great practical importance in the political crisis through which Europe is passing,--namely, what relations between men are to be desired, or with resignation allowed, in the course of their Moral Development?

Whether, that is to say, we should try to make some men beautiful at the cost of ugliness in others, and some men virtuous at the cost of vice in others,--or rather, all men beautiful and virtuous in the degree possible to each under a system of equitable education? And evidently our first business is to consider in what terms the choice is put to us by Nature. What can we do, if we would? What must we do, whether we will or not? How high can we raise the level of a diffused Learning and Morality? and how far shall we be compelled, if we limit, to exaggerate, the advantages and injuries of our system? And are we prepared, if the extremity be inevitable, to push to their utmost the relations implied when we take off our hats to each other, and triple the tiara of the Saint in Heaven, while we leave the sinner bareheaded in Cocytus?

179. It is well, perhaps, that I should at once confess myself to hold the principle of limitation in its utmost extent; and to entertain no doubt of the rightness of my ideal, but only of its feasibility. I am ill at ease, for instance, in my uncertainty whether our greatly regretted Chairman will ever be Pope, or whether some people whom I could mention, (not, of course, members of our Society,) will ever be in Cocytus.

But there is no need, if we would be candid, to debate the principle in these violences of operation, any more than the proper methods of distributing food, on the supposition that the difference between a Paris dinner and a platter of Scotch porridge must imply that one-half of mankind are to die of eating, and the rest of having nothing to eat. I will therefore take for example a case in which the discrimination is less conclusive.

180. When I stop writing metaphysics this morning it will be to arrange some drawings for a young lady to copy. They are leaves of the best illuminated MSS. I have, and I am going to spend my whole afternoon in explaining to her what she is to aim at in copying them.

Now, I would not lend these leaves to any other young lady that I know of; nor give up my afternoon to, perhaps, more than two or three other young ladies that I know of. But to keep to the first-instanced one, I lend her my books, and give her, for what they are worth, my time and most careful teaching, because she at present paints butterflies better than any other girl I know, and has a peculiar capacity for the softening of plumes and finessing of antennæ. Grant me to be a good teacher, and grant her disposition to be such as I suppose, and the result will be what might at first appear an indefensible iniquity, namely, that this girl, who has already excellent gifts, having also excellent teaching, will become perhaps the best butterfly-painter in England; while myriads of other girls, having originally inferior powers, and attracting no attention from the Slade Professor, will utterly lose their at present cultivable faculties of entomological art, and sink into the vulgar career of wives and mothers, to which we have Mr. Mill's authority for holding it a grievous injustice that any girl should be irrevocably condemned.

181. There is no need that I should be careful in enumerating the various modes, analogous to this, in which the Natural selection of which we have lately heard, perhaps, somewhat more than enough, provokes and approves the Professorial selection which I am so bold as to defend; and if the automatic instincts of equity in us, which revolt against the great ordinance of Nature and practice of Man, that "to him that hath, shall more be given," are to be listened to when the possessions in question are only of wisdom and virtue, let them at least prove their sincerity by correcting, first, the injustice which has established itself respecting more tangible and more esteemed property; and terminating the singular arrangement prevalent in commercial Europe that to every man with a hundred pounds in his pocket there shall annually be given three, to every man with a thousand, thirty, and to every man with nothing, none.

182. I am content here to leave under the scrutiny of the evening my general statement, that as human development, when moral, is with special effort in a given direction, so, when moral, it is with special effort in favour of a limited class; but I yet trespass for a few moments on your patience in order to note that the acceptance of this second principle still leaves it debatable to what point the disfavour of the reprobate class, or the privileges of the elect, may advisably extend. For I cannot but feel for my own part as if the daily bread of moral instruction might at least be so widely broken among the multitude as to preserve them from utter destitution and pauperism in virtue; and that even the simplest and lowest of the rabble should not be so absolutely sons of perdition, but that each might say for himself,--"For my part--no offence to the General, or any man of quality--I hope to be saved." Whereas it is, on the contrary, implied by the habitual expressions of the wisest aristocrats, that the completely developed persons whose Justice and Fortitude--poles to the Cardinal points of virtue--are marked as their sufficient characteristics by the great Roman moralist in his phrase, "Justus, et tenax propositi," will in the course of nature be opposed by a civic ardour, not merely of the innocent and ignorant, but of persons developed in a contrary direction to that which I have ventured to call "moral," and therefore not merely incapable of desiring or applauding what is right, but in an evil harmony, _prava jubentium_, clamorously demanding what is wrong.

183. The point to which both Natural and Divine Selection would permit us to advance in severity towards this profane class, to which the enduring "Ecce Homo," or manifestation of any properly human sentiment or person, must always be instinctively abominable, seems to be conclusively indicated by the order following on the parable of the Talents,--"Those mine enemies, bring hither, and slay them before me." Nor does it seem reasonable, on the other hand, to set the limits of favouritism more narrowly. For even if, among fallible mortals, there may frequently be ground for the hesitation of just men to award the punishment of death to their enemies, the most beautiful story, to my present knowledge, of all antiquity, that of Cleobis and Bito, might suggest to them the fitness on some occasions, of distributing without any hesitation the reward of death to their friends. For surely the logical conclusion of the Bishop of Peterborough, respecting the treatment due to old women who have nothing supernatural about them, holds with still greater force when applied to the case of old women who have everything supernatural about them; and while it might remain questionable to some of us whether we had any right to deprive an invalid who had no soul, of what might still remain to her of even painful earthly existence; it would surely on the most religious grounds be both our privilege and our duty at once to dismiss any troublesome sufferer who _had_ a soul, to the distant and inoffensive felicities of heaven.

184. But I believe my hearers will approve me in again declining to disturb the serene confidence of daily action by these speculations in extreme; the really useful conclusion which, it seems to me, cannot be evaded, is that, without going so far as the exile of the inconveniently wicked, and translation of the inconveniently sick, to their proper spiritual mansions, we should at least be certain that we do not waste care in protracting disease which might have been spent in preserving health; that we do not appease in the splendour of our turreted hospitals the feelings of compassion which, rightly directed, might have prevented the need of them; nor pride ourselves on the peculiar form of Christian benevolence which leaves the cottage roofless to model the prison, and spends itself with zealous preference where, in the keen words of Carlyle, if you desire the material on which maximum expenditure of means and effort will produce the minimum result, "here you accurately have it."

185. I cannot but, in conclusion, most respectfully but most earnestly, express my hope that measures may be soon taken by the Lords Spiritual of England to assure her doubting mind of the real existence of that supernatural revelation of the basis of morals to which the Bishop of Peterborough referred in the close of his paper; or at least to explain to her bewildered populace the real meaning and force of the Ten Commandments, whether written originally by the finger of God or Man. To me personally, I own, as one of that bewildered populace, that the essay by one of our most distinguished members on the Creed of Christendom seems to stand in need of explicit answer from our Divines; but if not, and the common application of the terms "Word of God" to the books of Scripture be against all question tenable, it becomes yet more imperative on the interpreters of that Scripture to see that they are not made void by our traditions, and that the Mortal sins of Covetousness, Fraud, Usury, and contention be not the essence of a National life orally professing submission to the laws of Christ, and satisfaction in His Love.

J. RUSKIN.

"Thou shalt not covet; but tradition
Approves all forms of Competition."

ARTHUR CLOUGH.

INDEX.

[Transcriber's note: entries here of page numbers followed by _n._ should indicate that references will be found in a note on that page number. However, most of these references to notes on particular pages are inaccurate. The direct page number links, however, are accurate.]

(_The references are made to the numbered paragraphs, not to the pages, and are thus applicable to every edition of the book since that of 1880._)

Accumulation of learning, its law, 73.

Accuracy and depth of study, distinct, 1857 _pref._

Admiration, increase of, a test of progress in art, 167.

Almsgiving, 142.
" parish, &c., 129.

Almshouses, decoration of, 115.
" prejudice of poor against, 129-30.

Alpine climbing, risks of, 151.

Ambition, in youth and age, 26.

America, absence of great art in, 87.
" bad shipbuilding in, 112 _n._
" commercial panic in, 151.

Ancestors, respect for their work insisted on, 72.

Architecture, Gothic, sculpture to be in easiest materials, 34.
" " to be studied at Verona, 76.
" variety in, to be demanded, 32.
" " cheapens the price, _ib._

Arcola, battle of, 77.

Arethusa, the, and the Belle-Poule engraving, 147.

[Greek: Aretê] and art, 155.

Art, cheap, its purchase, 40.
" " great art not to be too cheap, and why, 62 _seq._
" demand for good, and the possibility of having too much, 38.
" dress, beauty of, essential to good art, 54.
" education in (author's paper on), 153 _seq._
" function of, to exalt as well as to please, 38.
" -gift and art-study, 172.
" good, to be lasting in its materials and power, 39.
" " to be done for and be worthy of all time, 46.
" great, the expression of a great soul, 136.
" has laws, which must be recognised, 157.
" -intellect in a nation, cannot be created, 20-1.
" its debt to Italy, 82.
" labour and, 19.
" " the labour to be various, easy, permanent, 31 _seq._
" literature and, the cost of, 67.
" love of old, essential to produce new, 88.
" materials of, to be lasting, 39, 42.
" models in art schools, 162-4.
" modern interest in, 168.
" " " objects of, and old pictures, 86.
" original work, the best to buy, 41.
" permanency of--e.g., a painted window, 37.
" -power a gift, 158.
" " in a nation, how to produce, 132.
" " waste of, on perishable things, 45.
" preservation of works of, 73-4.
" " (1857) more important than production, 92.
" price of good, 41. See s. Pictures.
" progress in, tested by increased imagination, 167.
" public to demand noble subjects of, 29.
" " effect of public demand on, 165.
" repetition in, monotonous, 32.
" schools, trial, 22-3.
" " provincial, to have good art-models, 169.
" students, 153 seq.
" -study will not "pay," 174.
" test of good, will it please a century hence? 39.
" value of, depends on artist's capacity, not education, 136.
" variety of work, 32.
" work, hard, needed for, 158.
" works of, illustrate each other, 63.
" works of, property in, 147.
" " provincial distribution of, 169.
" " their conservative effect, 132 _n._
" " to be lasting, 36.
See s. Admiration, America, Architecture, Arethusa,
Aretê, Artist, Beauty, Buildings, Cheapness, Colour,
Criticism, Design, Diletto, Drawing, Dress, Education,
Europe, Florence, France, Genius, Glass, Gold, Goldsmiths,
Historical painting, Indian shawls, Italy, Jewels, Labour,
Lace, Lombard, Marble, Mosaic, Painter, Philosophy, Pictures,
Reverence, Schools, Trade, Wall-paper, War, Water colour, Wealth, Woodcuts.

Artist, education of the, to be a gentleman--_i.e._, feel nobly, 28.
" encouragement of, in youth, 23.
" goldsmith's work, good training for, 46.
" greatest, have other powers than their art, 21.
" jealousy among, 98.
" modern training of, 132.
" _nascitur non fit_, 20.
" temper of, what, 132.
" to be a good man, 28.
" trial schools to discover, 22-3.
See s. Dürer, Francia, Gainsborough, Ghiberti,
Ghirlandajo, Giotto, Leonardo, Lewis, Lorenzetti,
Michael Angelo, Rembrandt, Reynolds, Tintoret, Titian,
Turner, Veronese, Verrocchio.

"Asphodel meadows of our youth," 26.

Athletic games and education, 128.

Austrians, in Italy, 78.

Author, his idea of a knight, when a child, 106.
" " teaching young lady to copy old MS., 180.
life of:
at Brantwood, April 29, 1880.
" Manchester, July 10 and 13, 1857, 1, 61.
" Metaphysical Society, 1875, 175.
" Oxford, art teaching, _pref._ ix.
" Working Men's College, 156.
" Venice, 141 _n._
" teaching of:
misunderstood, 180.
political economy, has read no modern books on, 1857 _pref._
political influence of art, 1880 _pref._
true wealth honoured by, 1.
words fail him to express modern folly, 49.
" books of, quoted, &c.:
" A Joy for Ever" contains germs of subsequent work, 1880 _pref._
" revision for press, 1857 _pref._
" title, 1880 _pref._
on his own writings, 140.
they cost him pain, and he does not expect then to give pleasure,
1880 _pref._

Barataria, the island of ("Don Quixote "), 65.

Beauty in art, on what based, vi.

Bible, The, to be realised as (not only called) God's Word 185.