Lectures on Art, Delivered Before the University of Oxford in Hilary Term, 1870. Ruskin John

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СКАЧАТЬ from rank to rank, though possible to all men, may be rather shunned than desired by the best; and the chief object in the mind of every citizen may not be extrication from a condition admitted to be disgraceful, but fulfilment of a duty which shall be also a birthright?

      5. And then, the training of all these distinct classes will not be by Universities of general knowledge, but by distinct schools of such knowledge as shall be most useful for every class: in which, first the principles of their special business may be perfectly taught, and whatever higher learning, and cultivation of the faculties for receiving and giving pleasure, may be properly joined with that labour, taught in connection with it. Thus, I do not despair of seeing a School of Agriculture, with its fully-endowed institutes of zoology, botany, and chemistry; and a School of Mercantile Seamanship, with its institutes of astronomy, meteorology, and natural history of the sea: and, to name only one of the finer, I do not say higher, arts, we shall, I hope, in a little time, have a perfect school of Metal-work, at the head of which will be, not the ironmasters, but the goldsmiths: and therein, I believe, that artists, being taught how to deal wisely with the most precious of metals, will take into due government the uses of all others.

      But I must not permit myself to fail in the estimate of my immediate duty, while I debate what that duty may hereafter become in the hands of others; and I will therefore now, so far as I am able, lay before you a brief general view of the existing state of the arts in England, and of the influence which her Universities, through these newly-founded lectureships, may, I hope, bring to bear upon it for good.

      6. We have first to consider the impulse which has been given to the practice of all the arts by the extension of our commerce, and enlarged means of intercourse with foreign nations, by which we now become more familiarly acquainted with their works in past and in present times. The immediate result of these new opportunities, I regret to say, has been to make us more jealous of the genius of others, than conscious of the limitations of our own; and to make us rather desire to enlarge our wealth by the sale of art, than to elevate our enjoyments by its acquisition.

      Now, whatever efforts we make, with a true desire to produce, and possess, things that are intrinsically beautiful, have in them at least one of the essential elements of success. But efforts having origin only in the hope of enriching ourselves by the sale of our productions, are assuredly condemned to dishonourable failure; not because, ultimately, a well-trained nation is forbidden to profit by the exercise of its peculiar art-skill; but because that peculiar art-skill can never be developed with a view to profit. The right fulfilment of national power in art depends always on the direction of its aim by the experience of ages. Self-knowledge is not less difficult, nor less necessary for the direction of its genius, to a people than to an individual; and it is neither to be acquired by the eagerness of unpractised pride, nor during the anxieties of improvident distress. No nation ever had, or will have, the power of suddenly developing, under the pressure of necessity, faculties it had neglected when it was at ease; nor of teaching itself in poverty, the skill to produce, what it has never, in opulence, had the sense to admire.

      7. Connected also with some of the worst parts of our social system, but capable of being directed to better result than this commercial endeavour, we see lately a most powerful impulse given to the production of costly works of art, by the various causes which promote the sudden accumulation of wealth in the hands of private persons. We have thus a vast and new patronage, which, in its present agency, is injurious to our schools; but which is nevertheless in a great degree earnest and conscientious, and far from being influenced chiefly by motives of ostentation. Most of our rich men would be glad to promote the true interests of art in this country: and even those who buy for vanity, found their vanity on the possession of what they suppose to be best.

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

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

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

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

      10. Lastly, there is a continually increasing demand for popular art, multipliable by the printing-press, illustrative of daily events, of general literature, and of natural science. Admirable skill, and some of the best talent of modern times, are occupied in supplying this want; and there is no limit to the good which may be effected by rightly taking advantage of the powers we now possess of placing good and lovely art within the reach of the poorest classes. Much has been already accomplished; but great harm has been done also,—first, by forms of art definitely addressed to depraved tastes; and, secondly, in a more subtle way, by really beautiful and СКАЧАТЬ