Ariadne Florentina: Six Lectures on Wood and Metal Engraving. Ruskin John

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СКАЧАТЬ have elementary faculty of at your fingers' ends, and which kittens can draw as well as you—the scratch.

      The first, I say, and the last of lines. Permanent exceedingly,—even in flesh, or on mahogany tables, often more permanent than we desire. But when studiously and honorably made, divinely permanent, or delightfully—as on the venerable desks of our public schools, most of them, now, specimens of wood engraving dear to the heart of England.

      34. Engraving, then, is, in brief terms, the Art of Scratch. It is essentially the cutting into a solid substance for the sake of making your ideas as permanent as possible, graven with an iron pen in the Rock forever. Permanence, you observe, is the object, not multiplicability;—that is quite an accidental, sometimes not even a desirable, attribute of engraving. Duration of your work—fame, and undeceived vision of all men, on the pane of glass of the window on a wet day, or on the pillars of the castle of Chillon, or on the walls of the pyramids;—a primitive art,—yet first and last with us.

      Since then engraving, we say, is essentially cutting into the surface of any solid; as the primitive design is in lines or dots, the primitive cutting of such design is a scratch or a hole; and scratchable solids being essentially three—stone, wood, metal,—we shall have three great schools of engraving to investigate in each material.

      35. On tablet of stone, on tablet of wood, on tablet of steel,—the first giving the law to everything; the second true Athenian, like Athena's first statue in olive-wood, making the law legible and homely; and the third true Vulcanian, having the splendor and power of accomplished labor.

      Now of stone engraving, which is joined inseparably with sculpture and architecture, I am not going to speak at length in this course of lectures. I shall speak only of wood and metal engraving. But there is one circumstance in stone engraving which it is necessary to observe in connection with the other two branches of the art.

      The great difficulty for a primitive engraver is to make his scratch deep enough to be visible. Visibility is quite as essential to your fame as permanence; and if you have only your furrow to depend on, the engraved tablet, at certain times of day, will be illegible, and passed without notice.

      But suppose you fill in your furrow with something black, then it will be legible enough at once; and if the black fall out or wash out, still your furrow is there, and may be filled again by anybody.

      Therefore, the noble stone engravers, using marble to receive their furrow, fill that furrow with marble ink.

      And you have an engraved plate to purpose;—with the whole sky for its margin! Look here—the front of the church of San Michele of Lucca,—white marble with green serpentine for ink; or here,—the steps of the Giant's Stair, with lead for ink; or here,—the floor of the Pisan Duomo, with porphyry for ink. Such cutting, filled in with color or with black, branches into all sorts of developments,—Florentine mosaic on the one hand, niello on the other, and infinite minor arts.

      36. Yet we must not make this filling with color part of our definition of engraving. To engrave is, in final strictness, "to decorate a surface with furrows." (Cameos, in accuratest terms, are minute sculptures, not engravings.) A plowed field is the purest type of such art; and is, on hilly land, an exquisite piece of decoration.

      Therefore it will follow that engraving distinguishes itself from ordinary drawing by greater need of muscular effort.

      The quality of a pen drawing is to be produced easily,—deliberately, always,3 but with a point that glides over the paper. Engraving, on the contrary, requires always force, and its virtue is that of a line produced by pressure, or by blows of a chisel.

      It involves, therefore, always, ideas of power and dexterity, but also of restraint; and the delight you take in it should involve the understanding of the difficulty the workman dealt with. You perhaps doubt the extent to which this feeling justly extends, (in the first volume of "Modern Painters," expressed under the head "Ideas of Power.") But why is a large stone in any building grander than a small one? Simply because it was more difficult to raise it. So, also, an engraved line is, and ought to be, recognized as more grand than a pen or pencil line, because it was more difficult to execute it.

      In this mosaic of Lucca front you forgive much, and admire much, because you see it is all cut in stone. So, in wood and steel, you ought to see that every line has been costly; but observe, costly of deliberative, no less than athletic or executive power. The main use of the restraint which makes the line difficult to draw, is to give time and motive for deliberation in drawing it, and to insure its being the best in your power.

      37. For, as with deliberation, so without repentance, your engraved line must be. It may, indeed, be burnished or beaten out again in metal, or patched and botched in stone; but always to disadvantage, and at pains which must not be incurred often. And there is a singular evidence in one of Dürer's finest plates that, in his time, or at least in his manner of work, it was not possible at all. Among the disputes as to the meaning of Dürer's Knight and Death, you will find it sometimes suggested, or insisted, that the horse's raised foot is going to fall into a snare. What has been fancied a noose is only the former outline of the horse's foot and limb, uneffaced.

      The engraved line is therefore to be conclusive; not experimental. "I have determined this," says the engraver. Much excellent pen drawing is excellent in being tentative,—in being experimental. Indeterminate, not through want of meaning, but through fullness of it—halting wisely between two opinions—feeling cautiously after clearer opinions. But your engraver has made up his opinion. This is so, and must forever be so, he tells you. A very proper thing for a thoughtful man to say; a very improper and impertinent thing for a foolish one to say. Foolish engraving is consummately foolish work. Look,—all the world,—look for evermore, says the foolish engraver; see what a fool I have been! How many lines I have laid for nothing! How many lines upon lines, with no precept, much less superprecept!

      38. Here, then, are two definite ethical characters in all engraved work. It is Athletic; and it is Resolute. Add one more; that it is Obedient;—in their infancy the nurse, but in their youth the slave, of the higher arts; servile, both in the mechanism and labor of it, and in its function of interpreting the schools of painting as superior to itself.

      And this relation to the higher arts we will study at the source of chief power in all the normal skill of Christendom, Florence; and chiefly, as I said, in the work of one Florentine master, Sandro Botticelli.

      LECTURE II

THE RELATION OF ENGRAVING TO OTHER ARTS IN FLORENCE

      39. From what was laid before you in my last lecture, you must now be aware that I do not mean, by the word 'engraving,' merely the separate art of producing plates from which black pictures may be printed.

      I mean, by engraving, the art of producing decoration on a surface by the touches of a chisel or a burin; and I mean by its relation to other arts, the subordinate service of this linear work, in sculpture, in metal work, and in painting; or in the representation and repetition of painting.

      And first, therefore, I have to map out the broad relations of the arts of sculpture, metal work, and painting, in Florence, among themselves, during the period in which the art of engraving was distinctly connected with them.4

      40. You will find, or may remember, that in my lecture on Michael Angelo and Tintoret I indicated the singular importance, in the history of art, of a space of forty years, between 1480, and the year in which Raphael died, 1520. Within that space of time the change was completed, from the principles of ancient, to those of existing, art;—a manifold change, not definable in brief terms, but most clearly characterized, and easily remembered, as the change of conscientious and didactic art, into that which СКАЧАТЬ