Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
of
tlje
of
?
Arthur Harrison
Ex LibrJa
BY
W.
G.
M.A.
"SEEN
SERVICES
L
'
DATE..
KOV
LONDON
PERCIVAL AND
1891
rights resented
CO.
>
PREFACE
"
perhaps too much to expect of the general
reader" that he should defer criticism of Mr.
IT
is
And
yet,
either
To all standard systems of philosophy, handbooks or summaries have been written, usually
by- some pupil personally acquainted with the
master, and in sympathy with his character and
useful in
of a great writer.
It
may be
questioned by some
Preface
vi
is
standard philosophers.
century
not
We
It is
question to posterity.
if
entitled to
of criticism, in
critical,
powers and
attention of
in
his views,
all,
full
sympathy
But
name is so idenof comparatively few.
tified with art in England, that no intelligent
student can afford to ignore him.
his
offer
my
contribu-
work by
and
multitudinous
writings
doing for the complex
of Mr. Ruskin what other disciples have done for
-other
masters
systematising
where he scorns
and comparing
his scattered
utterances on the various branches of his widein the belief, which I trust the
spread subject
reader will ratify, that Mr. Ruskin's writings on
"
a mighty maze," are " not without a
art, though
;
Plan '"
CONISTON,
W.
2yd Sept.
1891.
G. C.
CONTENT^
CHAPTER
BIOGRAPHICAL
.....
.....
......
2.
3.
His
1.
4.
5.
Education
Artistic
1 1
13
His Relation
His Relation
to
8.
9.
10.
...
Art- Philosophy
......
Modern
7.
1 1.
6.
German
PAGE
Painters
Group
CHAPTER
16
17
20
27
30
II
......
......
.......
.......
......
.....
12.
13.
Aphoristic Definitions
14.
15.
6.
8.
Ideas of
Power
and Art
7^ Machinery
Photography and Art
19.
Programme of
the Subject
34
36
38
40
42
45
47
49
Contents
viii
CHAPTER
IMITATION
III
PAGE
of Art
20.
The Purpose
21.
Deceptive Imitation
55
22.
The Mimetic
57
23.
Representation
53
Instinct
59
60
26.
Selection
27.
62
......
CHAPTER
65
66
IV
GENERALISATION
......
29.
30.
The Academic
31.
The Revolt
32.
The War
33.
Specialisation
34.
Character
28.
Art- Philosophy
against
Academicism
68
69
71
73
.... ....
.
75
'.
77
76
CHAPTER V
TRUTH
'
....
....
35.
36.
37.
The
38.
Individualisation in Poetry
85
39.
Individualisation in Painting
86
40.
Realistic Detail
88
of
Knowledge
Interest of Individualisation
80
81
83
Contents
ix
.........
PAGE
41.
Idealistic Detail
90
42.
Finish
91
43.
Wrong
CHAPTER
93
VI
?......
......102
Perspective and
49.
50.
51.
The Nude
Geometry
95
97
99
.105
.106
.
108
109
CHAPTER
VII
BEAUTY
iJX Truth and Beauty
113
53.
54.
Taste
al Beauty
Theology of Beauty
.
114
125
59.
60.
Sublimity
homo
.117
.120
123
.127
129
61.
Ars
62.
est
116
additus naturae
Contents
PAGE
63.
Fancy
64.
Associative Imagination
65.
Penetrative Imagination
66.
Contemplative Imagination
135
67.
Grotesque
68.
Symbolism
69.
Inspiration
136
137
........
.......
........
.
CHAPTER
.138
140
143
146
IX
....
70.
The Hero
71.
72.
73.
74.
The
75.
Religious Art
76.
The
77.
as Artist
of Art-
Influence of Religion
upon Art
CHAPTER X
ART AND MORALITY
78.
Ethical
79-
The
8a The
Q$)
Art
Laws and
Effect of Art
Practical Rules
upon the
Sake
Artist
on
....
66
-,68
his Art
170
1/2
82.
Didactic Art
83.
The
Effect of Art
84.
The
Effect of Public
Morality
85.
Vulgarity
on Public Morals
on Art
I75
I7 6
xi
Contents
CHAPTER
XI
PAGE
181
Heredity
Tradition
183
'
.186
i8S
90.
The Age
192
91.
Decadence
92.
Local Art
93.
National Art
of the Masters
195
.
197
199
CHAPTER
XII
Art-Wealth
96. Discovery
97. Application
........
.-.
.
98. Accumulation
99.
Distribution
202
The Genesis
103.
A priori
104.
105.
Laws
......227
Development of Architecture
of Architecture
.
218
222
of Art
208
.211
.211
.214
216
102.
101.
106. Styles
100.
206
224
226
230
Contents
xii
PAGE
107.
1
08.
109.
no.
Architectural Colour
233
.
.234
.236
237
CHAPTER
XIV
DECORATION
in. The Rank
112.
.......
......
....
of Decorative Art
240
241
242
114.
Conventional Design
its
Reasons
115.
Conventional Design
its
Fallacies
.250
1 1
6.
Naturalism in Ornament
117. Abstraction
246
248
251
CHAPTER XV
DESIGN
118.
The
20.
121.
1
22.
.......
.......
......
Necessity of Design
119. Organised
Form
Natural Grouping
253
254
256
Imaginative Grouping
257
Invention
259
260
Rules of Composition
125.
Laws
...
of Composition
261
263
CHAPTER
XVI
SCULPTURE
126.
Plastic
127.
Incision
....
....
and Glyptic
268
271
Contents
xiii
PAGE
128.
Surface
129.
Bas-Relief
272
.......
130. Undercutting
273
274
276
132.
Statuary
277
133.
The
Vices of Sculpture
134.
The
Virtues of Sculpture
279
.
CHAPTER
.281
XVII
ENGRAVING
135.
The
Definition
284
136. Line
137.
287
Linear Texture
138. Curvature
1
39.
289
.
Methods of Engraving
140. Woodcutting
141.
Etching
142.
Mezzotint
290
292
........
........
CHAPTER
295
297
300
XVIII
DRAWING
143.
Light
144. Shade
...
.........
.....
Methods of Draughtsmanship
146. Transparency and Value
147. Pen and Wash
145.
148.
149.
The
150.
The Schools
of Chiaroscuro
304
......310
306
307
of Chiaroscuro
Schools of Line
303
312
315
.318
Contents
xiv
CHAPTER
XIX
PAINTING
PACK
151.
The Schools
3 22
of Colour
153.
154.
Laws
155.
The Three
152.
...
.......
....
of Colour
Divisions of Painting
325
327
329
333
156. Execution
335
Style
337
157.
CHAPTER XX
STUDY AND CRITICISM
158. Style and Teaching
159.
The Aim
60.
Study
161.
Who
for
are
.....
......
......
...
.
163.
164.
165.
The Function
66.
343
Amateurs
" the Masters "?
340
of Art-Study
of the Critic
345
347
349
353
35^
35 8
The
Criteria of Art
36
The
Future of Art
3 63
ABBREVIATED REFERENCES
M.
P.
= Modern
Painters
that of
briefly
and clearly
Where
required,
the
page
is
mentioned, the pagination of the "1888" edition nearly corresponds with that of earlier complete editions.
S.
the
V.
= Stones
of Venice
large edition of
to
M.
886 used.
To
this
only selections).
S. L.
E. D.
A.
= Elements
referred to
A. E.
lecture
= Seven Lamps
of
of Architecture
Drawing
large edition of
(out of print)
880.
edition of 1857,
by page.
= TAe Art
and page.
L. F.
=Laws
of Fesole
= Lectures
1891.
J.
E.
of Art)
small edition
of 1887.
T. P.
L. A.
1887.
A. f.=Aralra Fentelici
edition of
Abbreviated References
xvi
A. F.
= Ariadne Florentina
= Val d'Arno large
:
V. d'A.
E. N.
Of
= Eagle's
Nest
title is
given in
full.
CHAPTER
BIOGRAPHICAL
to
thought which runs throughout his writings
from
all
the
it
complicated embroidery
disentangle
;
and
to
compare the
in short, to
gations pursued along different lines
is
the
student
of
the
Ruskin,
purpose of
help
these chapters.
are
designed as a comThey
:
Ruskin's teaching
And
great
address
myself;
chiefly because
Mr.
Ruskin
is
Art-Teaching of Riiskin
2
his
own
exponent on certain
best
CHAP.
topics,
and
nothing
and value of the works of great masters. Consequently, those ideas which stand out in the
popular mind as most prominently Ruskinian, are
while those are
only lightly to be treated here
emphasised which some experience of study and
teaching has indicated to me as likely to be
;
upon
Few
delight
and
letters
and
lectures
in
in
underlying
gives
life
ances, even
you
to understand
is,
you
find that
Ruskin
may
be
right, or he
may
be
Biographical
wrong
piece with
For,
thing
all his
his
by
is
of a
philosophy.
Art-Teaching,
understand some-
and
he
has
sometimes in orderly argiven
writings
sometimes
his thoughts
dispersedly
rangement,
to
its
his observaArt
with
and
uses,
regard
upon
tions as to its influence on the lives of those who
produce it and those who admire it in a word,
its relation to Nature and its significance to Man.
lines
drawing
to
and something of
pictures
learn
;
know how
this in
to paint
due course we
speak usefully to the public rather than acceptably to art -philosophers (if there were any in
all
this country)
combined to break up his
scheme and
alter
his
tactics.
So
in
January
CHAP.
from
earlier ambitions.
become an
but
had
Gt.
man
Academy
schools
it is
untaught pulpiteering and pamphleteering
only when these popular methods are used by great
men that they become rightly influential.
And in this mood Ruskin has often said
hard things against professional
;
"
"
chiefly because of the
unsettling
philosophers,
tendency of thex
Biographical
post-Hegelian age
domain of Art-Philosophy
its
without clay.
Very few of the professed thinkers
have had a real, working acquaintance with Art ;
it
is
one's subject.
And, taking Mr. Ruskin's writings
as a whole, allowing for the gradual development
Art-Teaching of Ruskin
CHAP.
the continually changing circumstances and influences under which he lived, we can trace a distinct
cohesion and
his
continuity in
thought,
all
the
originality,
of great
talent
in
draughtsmanship,
Biographical
not before
we owe a
Drawing acceptable
great debt to
to the temper,
But
him
and
for
making
instructive
England.
two years of
felt as much,
age,
in
his
early
Harding
is
logue to vol.
ii.
with eulogy
Art-Teaching of Ruskin
8
is
been taken
for
an
it
CHAP.
insult.
be thoroughly studied
as specimens of his
made
analytical
in
which he has always kept with assia specimen of his unpublished remarks on
duity
treatment, colour, and composition in some of the
his journal,
;
because
is
Biographical
elaborated detail
caught
effects
in short,
portions and angles
the craft of the landscape painter in
;
all
except
that in doing
it
lies
amateur.
Mr.
application to study.
In this way he created a style of his own
a
style which is so characteristic of the man that it
is
and yet
is
it is
CHAP.
on the
is
artifices
not a
"
"
picture
Most of
his
but a
"
study."
are
among
the
illustrations
to
Modern Painters
summary
treatment.
For
be beaten.
plates
owe
It is idle to
the
1 1
Biographical
and
in so
level
Teaching, studying, drawing, engraving, sketchit might well seem that life was not long
ing,
employment
his
games
is
12
CHAP.
up
School
his father's
favourite
the
"
Discourses."
flaw.
The
lesser
is
that of courteous
antagonism.
among his foes
he hunted like rats and crushed without remorse,
which makes his treatment of the nobler opponent
all
on,
critics
the
Biographical
of Oxford Lectures
elsewhere
(in
i.
No.
4,
a word
it
may be
on Art, Reynolds
than any other, in spite of grave diversities of
For
temper and wide differences of conclusion.
Academicism as such, apart from the personality
of a genius like Sir Joshua, Ruskin has never had
much respect. For the Royal Academy as an
institution he has had his hopes and indicated
his ideals.
With many of its members he has
had friendly relations; he has done justice to their
talents
and though he has not spared criticism
he never joined in the indiscriminating detraction
;
of jealous outsiders.
6. His Relation to English Art- Philosophy,
Besides these artists who wrote upon Art, there
whom Rus r
doctrines
Oxford, as
upon
many
his
special
reading
bearing
subject.
men
do, with
of
He
a
Art-Teaching of Ruskin
14
CHAP.
there
was some
In
was not
nence
either
an
lives.
inspiration
or
that time.
He had
Sublime
and
before
Beautiful,
criticised
The
later
at
(M.
the
The
time
P., vol.
1
ii.,
by looking back
Biographical
additional
note
He had
59).
studied
Alison,
who was
sceptical school, in
first
German
Bonn's
Aesthetic
of
edition
and
Literary,
Coleridge's
with,
say,
Miscellanies,
Schwegler's
in the
History of
by Dr. Hutchison
Stirling).
Ruskin quotes
Coleridge goes
but that
is
for
frequent
encomium, and,
sincerest flattery,
imitation.
in
6
7.
His Relation
Of Kant
to
at first hand,
CHAP.
German Art-Philosophy.
Ruskin could have known
little
translations
ii.
p. 8),
and compare
it
with
Eagle's
Biographical
who
when,
later,
in
every form, whether it were the
French School of the eighteenth century, or the
German and English critical thinkers and material-
scepticism
of the nineteenth.
ists
His Relation to Modern Thought. This statement may seem strange to the reader who remembers that, in his early days, at Oxford, Ruskin was
the friend of men who have become famous in the
lead of modern scientific research and that he himself was as deeply interested in natural science as in
art or literature.
But it must not be forgotten
8.
that
science,
completely
though
into
the
it
has
hands
c
the
Materialist
Art-Teaching of Ruskin
CHAP.
At present, physical
be so identified.
science eliminates God out of the universe, and
it was not so in Ruskin's
the soul out of man
always
young days
and
it
may
not be so in time to
come.
It is
Utilitarians
collision.
in
and
on the side of Carlyle and"
Emerson, that is, on the side of Hegel against the
French falaircissement and English imitation of it
scepticism, materialism, utilitarianism, and the
attitude of thought
no new thing which professes to "explain"
everything on the cheapest terms.
belief.
Ruskin
is
Biographical
P., vol.
ii.)
is
phraseology,
It
sophical analysis.
is
Name
of God, and
And it is
obvious applicability to didactic use.
found, on examination, to satisfy the requirements
of no one sect of religionists, although its language
invites their
suit
Art to
it is not an attempt to
but to express both in terms
sympathy
religion
We
Ruskin talk of
his early writing as merely declamabecause they hardly grasp his place in the
in which he
development of English thought
tory
stands, like
Carlyle,
midway between
the inter-
Without
no wonder
this
if
is
based upon
Art-Teaching of Ruskin
2O
CHAP.
and recognition of
with particular
facts,
and the
futility
of mere a
was a game,
to be judged as lost or
with
prearranged
won
principles.
in strict
His
and
compliance
contribution
of scientific criticism.
9.
His
Successive Periods.
We
have been
re-
when he appeared
great attempt
vol.
book
charge
Biographical
of untruthfulness, and to show that, with all drawbacks, he was the greatest landscapist the world
Even before the author had matricuOxford (October 1836) he had written
an essay in defence of Turner's Juliet and Mercury
and Argus, against the criticism of BlackwoocTs
This essay, long supposed to be lost,
Magazine.
I have had the good fortune to find among the
had
seen.
lated at
it is, of course, a
author's early papers
juvenile
have
not been many boys of
but
there
production,
;
seventeen
who
germ
book written
after seven
in
it
and
thought and
contains the
it
of the
style
years' further study
and
deliberation.
The defence
its
fundamental
when he wrote
the
first
volume, were,
in
1842,
in
Art,
Johnson.
To
follow
up
his
first
won
his
Art-Teaching of Ruskin
22
CHAP.
eyes were opened to a new manner of Art, unmentioned by Sir Joshua, and unknown to the English
In the place of the Northern
newspaper critics.
Gothic, with which he was well acquainted, he
found the Romanesque architecture of the twelfth
He
century grandly exemplified in S. Frediano.
found Quercia's Ilaria di Caretto, which fixed his
attention at once and for ever on the possibilities
its highest development, as
from everything that was modelled upon
And in
classical traditions, pure and simple.
painting he was gently initiated into the peculiar
manner of fourteenth-century Art by the works of
"
Madonna
Fra Bartolommeo
especially by the
with the Magdalen," now occupying the most imFrom thence he
portant place in the Pinacoteca,
went on to Pisa and Florence, and ultimately to
that
Venice, gaining an insight by severe study
of the methods of work and attitude
is, copying
of Gothic sculpture in
distinct
is
about
but sympathising with pre- Reformation
Catholicism, and feeling strongly the futility of
religion,
23
Biographical
phenomena and
ideals.
It revealed a
no special mediasvalism of manner.
naturalistic
of
Art, till
quite unexpected possibility
then hardly known
although something of the
sort had been attempted by Ruskin in his own
drawings of natural detail, naturally grouped.
Realism there had been in plenty, high finish,
;
romantic
subject
but
never
before
and
sympathetic draughtsmanship
followed out into the intricacies of
the
frank
same
colour
These
detail.
were the qualities of the Pre-Raphaelites that won
Ruskin's regard, and made him their literary
new
school,
apparently
so
unlike
his
former
24
CHAP.
might end
in
a modern
many
did in
those years.
One reason for this hopeful attitude was the
establishment of the Working Men's College, and
It seemed as if great
Rossetti's Art Class there.
things were to be done, when one of the leaders
of progress gave his strength, unasked and unpaid,
make them
He
fully
preaching
in
receptive
for ten
25
Biographical
From
hopes.
at ethics
and
re-
the
endowed
Art, newly
to
at Oxford,
We
the
with
beyond the stage of studentship
from
what
could
be
learnt
the
these
join
of
in
Greece
and
and
and
all,
masterpieces
Italy
carried
to
As they stand,
sum and crown of
the
Art-Teaching of Ruskin
26
CHAP.
were so planned as
to
all
out of
all
the University.
substance of his
life's teaching
-were practically
Similar schemes to-day, founded upon
Ruskin's plans, are eagerly supported by all parties
unheard.
impossible of attainment,
and in the world of political
to build
27
Biographical
friends
and helpers
will
thought.
Modern
Painters, vol.
i.
first attempt
(1843)
Art-Philosophy followed by slight
preliminary review of the relation of landscape
painting to natural phenomena, with reference to
at a consistent
Modern
of
Beauty
standpoint,
ii.
the theory
(1846)
Imagination from a theistic
keeping touch with Academic
Painters, vol.
and
still
Art-Teaching of Ruskin
28
CHAP.
Evangelical theology
Reviews
Christian
pamphlets.
technical qualities.
short notice of
Byzantine, Gothic,
As
Lectures on Architecture
at
Edinburgh
in
Gothic as a domestic
style,
29
Biographical
tion of the
the
first
monuments of
ancient architecture
by the Society
for the
Preservation
of Ancient
Buildings.
reprint
TJie
the
Naturalistic Landscape.
Modern
Painters, vols.
iii.
and
appeared in
Imaginative
and the history
iv.,
of Landscape
(vol.
Academicism
and of Mountain Beauty
iii.)
Art-Teaching of Ruskin
30
in
CHAP.
and manufacture.
The Elements of Perspective (1859), a companion to the Elements of Drawing, now out of
print.
"
Cornhill
He
on
31
Biographical
"
The Study of
reprinted in
called
On
"The
the
Cestus
Journal (1865-66),
Old Road
of
May
I5th
;
Aglaia,"
the
in
foreshadowing
teaching,
1865,
Art
Oxford
On
the
The
first series
and
employment of
32
Mornings
in Florence
and
St.
CHAP.
resumed
in
"The Three
in
papers
in
On
the
Old Road,
Art
had of
Academy.
in cheap
editions, within
of ordinary means
the
reach of students
Two
PatJts,
(Political
who,
Eagle's Nest,
Economy of Art]
if
and
shillings
Biographical
33
and is useful as supplementing the abovementioned on many points, and giving, with The
Seven Lamps, an idea of the author's earlier teachAnd The Laws of Fe'sole, ten shillings, should
ing.
be obtained by those who wish to follow out Mr.
shillings,
Ruskin's method
and brush.
in
practical
work with
pencil
mere current
as
that
is,
not as
charming essays, or
keen reviews, but as important sections of a complete system of thought, only to be understood in
the light of an adequate knowledge of the circumstances under which they were written, and the
aims to which they were addressed.
The critic
or student of Art may or may not ultimately
accept Ruskin's teaching, but he owes it to himself
to,
understand
literature,
it.
CHAPTER
II
To
be quite formal
before
ask,
proceeding
"
Is Art a real
to further inquiries, this question
?
or only a
consideration
serious
worth
thing,
:
"
For it is
Does it exist ?
chimaera, a delusion ?
no use examining the nature, end, or use of anything, unless we are sure that our terms are not
words and especially in the
worth while, because to many
people painting and sculpture are vanities, about
which it matters very little what is thought or
what is done. Even to some who sincerely delight
idle
is
in
call
such as science or
politics,
morality or religion.
But
if
CHAP,
ii
35
if
not in-
dispensable.
the case.
thing, presenting no
no universal laws of life to
expound it is derivative, and content with cold
it aims at no
reproductions of common types
sincere and honest original effort.
And the
persons who produce these derivative works, however ingenious and clever, are not real artists, but
ficial
Strictly
Whenever he
mirage
Real
Its possession
of vitality
is
shown by
its
Art-Teaching of Ruskin
36
national
life
CHAP.
influence
its
on men,
its
real
of demonstrating the catastrophe wrought or indiWith Mr. Ruskin both Science and
cated by it.
in
proportion
so that
to the nobility of their subject-matter
there is real Art which is bad, just as real Science
;
may be
as the compounding
But Science is false or sham when
proceeds upon unfounded assumptions, and
of poisons.
it
treats of non-existent
materials
false
artist
and
has
futile,
neither
and Art
is
Sham Art
and aphorism.
is
It
is
its
nature
not entirely
so skilled in epigram
ii
forgotten, misleads
them
for
37
though right
be wrong
another.
in
one
And
connection,
may
from the mere fact that his aphoristic definitions
of Art are so various, being given with the purpose
it
in
concern
Sham
from
is
generally to
for instance,
Art
is
God (M.
P., vol.
i.
p. xxiii.)
man (M.
P., vol.
mind of a God-made
intended, Art
iii.
p.
is
the heart of
definition
power
and one of
Art-Teaching of Ruskin
38
the evidences of
who
those
its
vitality
is
its
CHAP.
To
growth.
time
this
candid
a warrant of sincerity.
a cheap thing to adopt a system and stick
when it is cut and dried it is apt to com-
reconstruction of belief
It
is
to
it
is
mand
less
confidence
bough.
is
Sham Art
a real one.
Real Art
is
derivative,
is
century
it
call
popularly
most
as land-
in
part, were inferior kinds
contradistinction to which stood something that
was
called
position
High
Art.
The most
of the doctrine
is
that
accessible ex-
of Sir Joshua
n
in
Reynolds
39
He summed up
his discourses.
the
Academic
and
portraitist,
who were
Roman
put the whole art of painting under four categories, and deduced, from accepted examples, the
principles of their production
Art
the
Grand
how
to create
High
Style.
any one
"
own
sake.
to be painted as
For instance,
weak
in
is
St.
not admitted
Paul
is
not
Alex-
bodily presence
ander the Great not, as he was, of short stature
But what the public
Agesilaus, not as deformed.
;
*7
^
-^
Art-Teaching of Ruskin
40
CHAP.
"artful
It
and
robes.
We
taken, and
what
School, working
is
artist,
position
in
world and to
member
view
the
discrimination
of
it
as greater
''
ii
degrees of greatness
Art,
among
all
41
true
and
real
and
itself it
as to
is
told
skill
by
hesitation
a true one.
in
some of
its
become
artistic,
and
attest
thought,
they
are
nis tastes,
to the
utility.
And
so
we
Art-Teaching of Ruskin
42
CHAP.
emotions have
little
play,
position
Decoration of any kind is just
material adapted.
as truly a Fine Art as painting pictures, though
there is not the same scope for the whole great;
Art
and
is
Modern Painters he
in his more recent
a Language
later writings
his
looked at Art as
writings he looks at
in
of which
instincts
1
6.
it
more
Ideas of Power.
hereafter.
"
artistic
subject."
He
notes that
many
thoughts
that felt
Painters was to
the thought and
call
the attention
truth
in
Turner's
of critics to
later
work,
ii
43
of Art
is
in the
craftsmanship of the
When
artist.
this interest
is
at an inexplicable talent,
as
much an
instinct as
it,
the world
it
Art-Teaching of Ruskin
44
CHAP.
"
by a
unreflective
thunderstorm or a cataract.
S. T. Coleridge was
fond of telling how, at. the Falls of the Clyde, he
"
"
and
pronounced the scene essentially sublime
heard with contempt a lady rejoin, "Yes, it is
beautiful."
The beauty of the lines of rushing
foam, of crystalline transparency and iridescent
as doctrinaire in
mystery were nothing -to him
Kantian Art-Philosophy in comparison with the
;
if
he
fell in
he was
Coleridge, as poet,
could describe the sublimity, the fearsomeness of
the sight of a frail and lovely figure in the moonI
do not mean
light "beautiful exceedingly."
that the Sublime
ii
45
Sublimity
is
connected with
Beauty on
the
but as closely
one hand and
and Great Art
other ideas
named
at the
beginning of Modern
artistic,
form
manufacture, though
its results
Art-Teaching of Ruskin
46
CHAP.
hardly venture to incur the ridicule of the thoughtand the enmity of the trade by upholding a
less
logical discrimination.
Mr. Ruskin was led to his position
by considering
of the work-
life
man (S.
F".,vol.
producers,
who become
more
gent,
ii.
interested
in
quently happier.
the
interest
loses
;
what
its
it
into
it.
Consequently
tend to become
all
Sham
very simplest,
loses
many
of their qualities,
and
Still
more
is it
true of the
ii
47
by machinery.
It is not to be thought for a moment that Mr.
Ruskin would refuse the advantages to utility
His posiwhich are gained by machine power.
tion
is
As
quite simple.
made
be
can
plentiful,
workman, he enbut
manufacture
when
it is supposed
courages
that Art can thus be cheapened, he points out
that there is an impassable gulf between utilitarian
manufacture and Real Art
and the cheapening
of a hybrid between the two serves only to blind
;
Art
(L. A.,
10).
8.
evade
it,
Artists
Art-Teaching of Ruskin
48
CHAP.
interest in
is
in
human mind.
The
Nature.
In
man's thought and power, but photography gives
that only in a quite secondary degree
every
touch of a great picture is instinct with feeling,
but however carefully the objects of his picture be
chosen and grouped by the photographer, there
his interference ends.
It is not a mere matter of
colour or no colour, but of Invention and Design,
in
of Feeling and
Imagination, the
very
qualities
that
it
(Z.A,
is
172).
Photography
is,
but we must
production of designs (L. A.,
10)
not confuse its service with that of Art.
As in
the case of manufacture, it is a
separate thing.
;
ii
Fine Art
is
is
not science,
not photography.
it
It
is
is
I
49
not manufacture, it
do not attempt a
human emotion.
Programme of the Subject.
expression of
1
9.
At
it
the outset
is
hardly
and follow it
out in detail.
Much of what has been here noted
down will be treated again more fully though
the limits of any handbook, and the intention of
this one in particular, preclude a full development
of special arguments.
But we have now got Mr.
Ruskin's view of what he means by Art, and what
he separates from his conception of it
We have
next to examine the End of Art, its purpose or
aim and then to find its Uses, for we have seen
possible to prove every statement
Art-Teaching of Riiskin
50
CHAP.
practical application.
And
so,
will
treat of the
them
into their
of each,
the virtues
they are
all his
for
modern
and proposals
for
painting, from
Greenaway all
modern architecture,
;
51
criticisms
enough to quote
his
words, either in
criticism or of teaching.
Much
affairs
of
false
impression
and the
may be given by exact quotations
appearance of authenticity only strengthens the
falsehood.
If you want his words, read his books
;
for that
is
is
desire to lead.
It
sake of
breath of fresh
recollection
way
all
the afternoon.
No
doubt
it is
from some
the guide-book
and
maps
it
in
is
Art-Teaching of Ruskin
52
well to
know
the
lie
of the land
and
CHAP,
after the
excitements of the trip are over even the guidebook may be pleasant, and sometimes instructive,
reading.
The
"What
first
is
To
and this is so
get at a complete answer
important a subject that it demands a complete
answer we must follow the development of his
thought out of the pre-existing chaos of opinion,
the conflict between imitative Realism and generalising Idealism.
CHAPTER
III
IMITATION
20.
widely -spread
belief
mimetic
It
And
it
is
the
End
to imitate Nature
only one.
has been
its
that
it
chief aim, or
is
its
commonly supposed
more
that the
is
is
that
All
nothing more is required if this can be got.
the ancient and standard authors, from Aristotle
to
da Vinci, seem
Aristotle (De Poet,
Leonardo
opinion.
to
ii.)
support
this
thought
that
models chosen
(chap, cccl.) that
for imitation.
if
Leonardo remarks
you
Nature itself, seen in a large lookingSuch were the theories which were in
glass.
the time of the great artists of Greece
at
vogue
But even in the age
and of Renaissance Italy.
of Giotto, when the resources of Art did not allow
will
be
like
Art-Teaching of Ruskin
54
canto
xii.),
in
describing
the
perfect
CHAP.
pictures
understanding.
that the
Mediaevals and the early Renaissance,
only aim of Art was imitation. But it is extremely
unlikely that Aristotle and Dante and Leonardo
its
Imitation
Ill
55
blance to
one
peting theories of the Purpose or End of Art
or
what
be
it
was
to
that
Truth,
they supposed
Imitation
and
the
Truth, namely, Deceptive
;
other that
it
As
to be Beauty^ namely, the Academic Ideal.
was
we shall see, Ruskin
gradually enabled to
correct both these theories, and to unite them into
one philosophical doctrine though the main body
of the public, brought up in one or other school,
and powerless to shake off the one-sided ideas of
popular reasoning, is apt to mistake his insight
for inadequacy, and his reconciliation for self;
contradiction.
At
first,
drew
possibilities
of refined
just criticism,
common
Art-Teaching of Ruskin
56
CHAP.
can
imitate
not
fruit,
of imitative art
ideal
a tree.
is
The Dantesque
human
wholly beyond
power.
It is easy,
culties
of
The
Art
realistic
real diffi-
representation
of
iii.,
It
and
additional note
i).
thoughts.
It addresses the senses, the perceptive faculty;
and says nothing to the intellect, the conceptive
faculty.
It gives
blances,
sufficient
observer.
It is limited in range
and if we were to paint
nothing but what could be illusively imitated, Art
would be confined to still-life and the simplest
treatment of the figure.
It easily falls under empirical rules, and becomes a merely mechanical operation.
;
It addresses the
of intellect, to judge.
It gives the least valuable characteristics, whenever it approaches a subject in which
as in a
portrait
there
is
Imitation
Ill
less
exalted
moments and an
57
ideal of rarely-seen
energy or beauty.
its
the
it
phenomena
of focus
Nature consists
can only suggest
in
;
Nature
to symbolise
in
And
might be
worth remembering that the story of Zeuxis and
Parrhasius records merely one of those tournaments
not the
in which artists are fond of engaging
deliberate statement of the End of Art as held by
As a matter of
artists and critics of the time.
ventional limitations.
perhaps
it
fact the
is
"
and
of the hands making a rabbit on the wall
the clumsiest mimicry of the human form divine
;
Art-Teaching of Ruskin
58
doctrine as
it
unfolded
itself in
time,
CHAP.
it
will
be
In
compare the final form it took.
the Lectures on Greek Sculpture (1870) he traces
"
the instincts of
the beginning of plastic art to
interesting to
43)
Mimicry, Idolatry, and Discipline" (A. P.,
resemblances
is, the natural desire to make
;
that
two
the foundation
of our
The
composition.
"
with
the
Imaginacorrespond
Beauty" of his earlier writings; the
later instincts
and
mimetic
tion
"
is
ideas
instinct
"
the
is
"
Truth
"
of
Modern
Painters.
It begins in history with the bone-carvings of
the cave-dwellers in Neolithic time ; and in the
and
earlier idealisation
more than
doll -play,
and
wrong
Imitation
to
do, futile
not, therefore,
Academic
59
idealisation.
will
at
to
in
you
It
man
is
the
before
flying
It is
the function
This drawing
bo.at and the ill-represented water.
was done before he went to Oxford, probably in
1835
that
is
first
You
Pentelici
for there
Art-Teaching of Ruskin
60
Nature
is
You
like.
restriction, as
CHAP.
well
"
"
aim."
"
"
with the
"
Turner's
Falls of Terni
"
is
"
drifting
126)
as
its
sort of deception
Capitol
cannot
in
;
it is
of Washington (I
whether the
see
am
quite another
frieze at the
told),
work
where you
painting or
because you cannot climb near to see;
sculpture
or the coarse realism of a panorama
or the
is
embossed
flies
and
halfpence
on
Christmas
card.
subjects,
and
and
Effect.
How,
then,
is
feet,
the appeal
Imitation
Ill
made ?
clever
by
61
End
If the
were mere
if it
"effect,"
do
characteristic
and, consequently, the result of artistic representation is often quite inadequate to satisfy him.
senses
and
this
kind
we
is
But
as
shall
utmost.
which you
And
will
it
can develop
itself to its
anticipate by an assertion
at present think too bold, but which
I
will
Art-Teaching of Ruskin
62
am
that
CHAP
willing that
you may well
Art can do
that
the presence
less"(L.
A,
1).
This doctrine
is
harmonious and
consistent
In both
with the teaching of Modern Painters.
"
fact is the starting-point," and correspondence
but in both the
Wl'tb NatnrA jg fhp> FnH nf Arf
;
spondence
is
shown
because
"
wrong," but
because real Art appeals to the imagination, and
it appeals to
can only appeal by the imagination
the intellect, and can only appeal by the intellect.
illusion
not
illusion
is
To do
us
its
possession.
25
Art
The End
of
tell
Truth.
once,
it
As soon
subject.
as
not,
by any
Imitation
Ill
63
admirableness of method.
that which
The
best painting
is
it
Now
7, 8).
this
compare
Modern Painters part ii., section I " The landscape painter must always have two great and
of
distinct
ends
mind the
whatsoever
the
faithful
first,
mind
feelings with
artist himself."
Here we
find the
young author
'
Art-Teaching of Ruskin
64
I
may
terms.
that
CHAP.
of
mere
imitation,
other,
which at
first
among
Fhole
if
"
like," that is to
the
details
of work
these
say, only
practical
matters of principle are consistently developed.
in
Imitation
Ill
And
here
we
65
find that
Selection.
famous advice to
i.
given in
freer school
as unpaintable.
And for study as
to
the
opposed
picture-making,
range of choice is
to eliminate
very wide
"
Anything
will
do
"
for
study (Acad.
wants to draw the
the
imagination
as
that
which
is
guided by
Art-Teaching of Ruskin
66
The
CHAP.
selection of
find
its
And there
small way, real ground for admiration.
would be all the difference between a drawing
made in the spirit of pride disdaining the object
except as an occasion for display of execution or
illusion
the
It is
little things.
finding
not the choice of object merely, but the choice of
the imaginative vision of the facts about
subject
The
slang of con-
whole catalogue of
though
who
Imitation
Ill
67
enters into
all vital
Art
for the
now
proceed.
CHAPTER
IV
GENERALISATION
The Theory of Generalisation.
Fifty years
all teachers of drawing told their pupils to
and the doctrine is by no means
generalise
"
"
extinct even now.
By generalising they mean
of the
the omission of minor points of detail
the
nature
nice
an
into
evidences of too
inquiry
of inof
and
and structure
things represented
dividual character, subtly observed and crisply
28.
ago
it
fits
so
many
cases.
One
reply that generalisation gives breadth,
and detail cuts the picture up. Another, that it
will
of beauty
for he has some glimpses of a theory
that all the little distinctions which mark one
;
Generalisation
CHAP, iv
degradation
bonny ivy
mon
and
if
69
back to
their
com-
ancestor,
far nobler
You were
asking just
is
now which
tendency of beginners in Art being toward hardness, crudity, and laboured realism, this
precept of generalisation is an extremely conand
venient rule -of- thumb in drawing -classes
in a great number of cases it is a wholesome
practical corrective to the want of grasp which
that, the
In
natural in the earnest but timid beginner.
an inquiry like this, however, we must not remain
we must inquire
satisfied with the convenient
is
to
the
metaphysic of a
bygone
age.
Generalisation
The Art
Art-Teaching of Ruskin
70
CHAP.
resolving
it.
To
effect
this
process
in
general
who showed
Plato,
the relation of the
similar
properties,
to
the neglect of
little
called
And when
and
It
Generalisation
iv
coins, battered
illustrate the
and beings of
this
world
fail
of a
full
resemblance
At the
The Academic Art -Philosophy.
the
Platonic
Renaissance,
Philosophy (as it was
more
and
understood,
especially as given in this
of
the
Timaeus) was worked into the
Dialogue
scheme of Christian Theology. The notion that
the Creator formed the individual things and
beings of this world upon heavenly patterns,
seemed to tally with the Mosaic dictum that they
were very good and with the Pauline doctrine of
The Renaissance
sin entering, and death with sin.
30.
"
Academic,"
Art-philosophers, calling themselves
after the Academeia at Athens, where Plato taught,
found in this doctrine of Archetypes and Ideas an
interesting solution of the puzzle presented by the
It seemed to
action of the Imagination in Art.
their
Art-Teaching of Ruskin
72
CHAP.
Natura
Ode on
Cujus ex imagine
humanum genus,
sellers finxit
Unusque
et universus,
He
first,
With
the
full
"
exemplar Dei
of ages, born
figure
painting and
sculpture
into
the
whole
popular
Academic
language.
theory
was
finally,
the
rehabilitated
by
And,
idealistic
Generalisation
iv
i.
many
73
Like so
The Revolt against Academicism.
other fallacies, this system of thought began
in truth,
and claimed
With
tion of truth.
is
it
it
handicraft, absence of expressive detail, colourlessness, as of a statue newly dug up, or crudity as of
the cheap
common workmen
it
best
sion, detail,
Art-Teaching of Ruskin
74
CHAP.
The Gothic
Revival
to the Art-critic
this
pseudo-classical Venuses
choirs of angels, and in
With
more
lofty than
and
his contemporaries,
who
felt
Generalisation
IV
75
or choked and
The
32. The War of Physics and Metaphysics.
same process had been going on in the realm of
thought, though
we can
but glance at
results
its
The Academic
Philo-
sophy, in its
sations.
the germs of
called
Philosophy
that
is,
French
the
falair-
to
groups
greater into
these
still
little
more extensive
classes
these
until
in
Art-Teaching of Ruskin
76
when we
Mill's
Logic.
CHAP.
Now
how
see
connected with
might almost anticipate, what was a fact, that in
Ruskin's first writing he abandoned the generalisa-
fitness
of things
when we
and we note
find that
Modern
Painters and
Mill's
particulars,
finding the universal law in
the particular phenomenon ; a sounder formula than
"
"
the
of the Associationists,
variety in unity
with
or
even the
"
multeity in unity
"
of Coleridge.
ences that
mark
Grand Style
mark
This was an
species from genus.
at
a
middle
course
between
attempt
generalisation
that
Generalisation
IV
77
thought to be
and
with
Idealism,
only possible to
incompatible
Dutch Realism but even this offended the critics
individualistic portraiture, then
and
who thought
that
perhaps not without reason
Ruskin approximated Art to science
though
their grounds for attacking him seem to have been
;
tecture,
Old Road,
276).
34.
Already, however, he gave
In treating
indications of farther development.
Character.
of portraiture he shows
characteristics of the
rarely seen,
emotion ; that
is
to say, the
aim of portraiture
is
the
He
mean
the
through
said,
"
baser characteristics
disease
Paint
me
and so on
with
my
(as
warts
of individuality,
when Cromwell
").
By
the rare
78
CHAP.
is
modern
of which Ruskin
distinguish
inferior
He
it
from
the vulgar
Realism of the
Dutch School.
concludes this
first
attempt at a theory of
by
that
is
Generalisation
iv
79
In
lean
any
who
intellectual qualities in
forms of ingenuity.
CHAPTER V
TRUTH
After stating
The Three Stages of Knowledge.
view of Truth in Art as specialisation, the
author of Modern Painters completes his first
volume with a short review of natural phenomena,
35.
his
especially Turner,
his
"
The
Academicism.
were not slow
critics
in replying,
and
in
Truth
CHAP. V
81
have many features in common while the intermediate stages are wholly unlike either, and are
farthest from the right.
So it is in many matters
of opinion. Our first and last coincide, though on
different grounds
it is the middle stage which is
farthest from the truth.
Childhood often holds a
truth with its feeble fingers which the grasp of
manhood cannot retain, which it is the pride of
utmost age to recover."
He is thinking here
of that development of knowledge at which we
glanced in the last chapter
beginning with
definite but disconnected impressions of sense
going on to attempts at generalisation, more or
less futile and fallacious
and ending with a return
;
Art.
Infants in
judgment, we look
for specific
Art-Teaching of Ruskin
82
CHAP.
we
and breadth of
But perfected
in
judgment,
in the fact
knowledge
that the
second in content,
wanting
while the third reunites the parts and the whole in
a new power to subordinate
not to expunge
For instance, consider a rock. Untaught
detail.
Realism sees all cracks, mosses, and so on, and
gives all indifferently in crude and hard detail,
which to us looks less like a rock than a heap of
cracks and tufts.
Then the theory of generalisaearliest
in grasp, the
is
in,
rockiness
and so on
which
results in a
thought asks,
rock,
"
By what
characterised
thing needful
And modern
is
"
?
is
and
crystalline
all
finds
structure,
cleavage.
Truth
83
same
The
Interest of Individualisation.
holds
in
and
for
history,
good
principle
The
that
mere
is
and
subordination of detail.
The
Greek coins and carvings, in early Italian porand Realism. Hence Ruskin's interest in
the early art of Greece and Italy
after Marathon
Greek art, for him, begins to lose value Italian
art, for him, declines at the Renaissance, and yet
his real standards of the highest reach of Art are
Turner and Tintoret, apparently irreconcilable
with the archaic stage.
But Ruskin's later teaching is for students, who, if they are to be expected
traiture
Art-Teaching of Ruskin
84
CHAP.
rule,
in
in
Kew
of
landscape,
Gardens,
Claudified
by
fail
they
fail
to
the imagination
they are empty, contentless.
But the great modern painters, and the supreme
fix
the
betray
subject
the
great
lives
ethical
they
find
laws
in
by which
genre,
their
whether
Truth
expounding and
85
and passions of
and they
humanity ;
give, in landscape, a synopsis
of Nature's universal laws exemplified alike in her
sublimest and most
trivial
phenomena.
If individualIndividualisation in Poetry.
isation be so great a source of interest, as opposed
3 8.
to generalisation,
how
Poetry described
as
is
it
that
we
usually hear
proportion to its
does not fix the imagiwander? This kind of critigreat
powerful, as
in
it
vagueness
nation, but lets it
cism is of a piece with the last-century theories of
it is a
Art, and the last-century view of science
of
and
denied
Academicism,
flatly
by
corollary
Ruskin.
He takes a well-known and at that
time generally acceptable
passage of Byron, the
;
poetry.
in
Milton (M. P., vol. ii. p. 1 5 8), who are the champions
of the generalisation theory.
The sympathies of
men are aroused by something they can grasp,
rather than by shadowy notions which elude them
;
what they recognise for truths, rather than what they must refuse
at any rate till a more convenient season
as
theories
and their imaginations are caught by
picturesque detail, and play about the associations
of it in freedom and pleasure, when they care
their
to receive
Art-Teaching of Ruskin
86
little
to
wander uncompanioned
into
CHAP.
mist
the
and
poetry of
value
interests
acknowledged
by individualisation,
and that the style which refuses detail and con-
at length
the
the intellect, or is intended for that purpose
death
of
battle
murder
and
sudden
and
reports
;
tional
is
in
their
now
We
are
Truth
v
been.
Modern
87
tionised Art,
in
every department
F., vol.
iii.
ch. iv.
26),
down
acteristic
cially
when the
chap, ii.)
the recent
To
discovery
and
of photography,
unbounded expectations
iii.
by
the
about it.
His
laborious draughtsmanship of the Venetian architecture was superseded, as he thought, or, going
to be superseded, by the Daguerreotype
and
imitative art, such as that would end in, would be
no despicable or trivial affair, like the deceptive
imitation he criticised twelve years before.
Art
was now on the way to much higher reaches,
which in some measure it has attained though
raised
it is
difficult to
evil
influence of-'
Art-Teaching of Ruskin
88
CHAP.
In
the
Naturalistic
extension Ruskin
is
of beauty.
Now
that individualisation
is
is
liable
to be
becomes
necessary to understand the difference between
these purely sensuous particulars and the artistic"
unity of universal and particular which alone
deserves the name of Art.
They have a super-
ficial
resemblance
realistic detail
in
and
it
desire, in
it
the question is M. P., vol. iii. chap, x., " On the use
of pictures," which, recurring to the old question,
Truth
v
"
What
89
"
shows
the most important truths ?
that the greater painters give those truths which
are
turnstile, letting
you
in
to see
the waterfall
at
many
truths as will
tells
Of
calibre
but
we
are discuss-
Men who
feel
themselves incapable of
themselves, as Turner did for years, to particularisation of the first stage, which is not without its
and use
Art-Teaching of Ruskin
9O
CHAP.
trained in this
work
Museum
will at
and the
artist
any
and
if he is capable
of greater things, greater things will be done by
tion in his
him
immediate
results
in time.
itself rise
above the
fulness.
So
so far as
it is
far as
level of simple
it
imaginative element to
is
to be,
all
its
it
faithfulness in tran-
"
Truth no
less,
nay,
Truth
91
moral of the
character of the
Definite
fable.
as Art cannot
drawing or slovenly painting, still
all
truths
and
indeed
must select a
give
equally,
smaller and still smaller number of truths in proportion to their importance and that significance
which would be lost by the attempt to combine
in this kind the best
incompatible excellencies
are but shadows, and the reasons for realisation of
belief,
realisation,
would
rebellion.
whose
only
And
this
purpose
force
is
the
is
to
compel
spectator
into
in the illustration
"
to the level of
meaning
to
resemblances, as in a dream.
The question, "
42. Finish.
or Finish?" is another form
question
Art-Teaching of Ruskin
92
"
What
are
CHAP.
the
?"
It
thoughts in all their grotesque or fanciful associations, and whatever may lie between these purposes,
not identical but closely related.
Hence, Art must
not stop short of giving all details which may add to
"
(M.
(p.
128)
When
iii.
1 1
p.
8)
it is
is
"
telling
more
added fact"
first
truth
"
(p.
125).
sketch are
sham
"
fact,
is
as
possible in
circumstances
of sketchiness
is
but
the time
wrong when
the appearance
induced as an excuse for want of
is
The
man
much
Tritth
93
Leonardo draws
the true sense, as far as possible
in the agates in his foregrounds, Titian
realises the snail-shells and flowers in his broadest
;
veins
Completion, Right
and Wrong.
When
How
is
far
a work
because
The stopping
and not
in less degree.
Err, of the two, on the
side of completion." In another place (M. P., vol. ii.
p. 79) he points out the difference between indolent
Art-Teaching of Ruskin
94
CHAP, v
in
another.
In the
artist's intention.
CHAPTER
SCIENCE
VI
AND ART
So
far as
in
writings, the
delight
in
(L. F.,
chap.
The
i.
i).
second
and Science.
interest
in
definition
g6
in
CHAP.
of Art, as
he
understood
As
tation.
might have been thought that he distinguished Art from Science as being concerned
with Beauty and Goodness, while Science is allowed
to range over knowable facts without
any conIt
From
ance of what
is
base or of an
evil
tendency.
It
is
and Art
Science
vi
no doubt
difficult to
draw a
97
definite line
between
to this, that
Beauty,
is
however,
Art
is
we understand
that
Art
is
distinction,
an
When,
activity,
we can no
with Science.
it
It is almost
45. Does Science help Art?
who
are
not artists,
believed
by people
universally
figure to learn
history painter
to study archaeology for fear of anachronism in
Ruskin
his costumes and accessories, and so on.
;
is
held
He does
proper purpose of Art.
not deny that by the help of anatomy you may
make yourself a good anatomical draughtsman,
98
CHAP.
still
that
the old
Cima
of an artist
birds
is
instinctive
building nests,
is,
The
talent
52
L. A.,
24), and the correspondence of his work
his representative faculty
is
a
with Nature
matter of observation at the moment, or else of
don't see."
himself
with
to
tempted
he ought to
see,
But the
artist
scientific
information
see,
is
always
yet thinks
of
Art
it
is
demonstrable
that
those
Science
VI
and
A rt
99
who took
It
is
an
enough
artist
Art
who
go
far
aspect of things
and causation.
As an
apt illustration
may be
to
Art.
Why
then
Art-Teaching of Ruskin
ioo
CHAP.
We may say
subject.
apprehension
treat the
information
about
the
Matterhorn
and
Mont
example
The example
that Ruskin
set
No
has certainly
one can now-
And
most accom-
Science
VI
and Art
101
and our
other hand practised archaeologic genre
best-known landscape etcher is a surgeon who
:
does not,
I believe,
draw the
Medical students
figure, as
one might
to art
expect
have rarely made other than mediocre figure
painters, while on the other hand the criticism of
scientific specialists is welcomed by artists, and
their approval is reckoned high praise.
"
It is in raising us from the first state of
inactive reverie to the second of useful thought,
that scientific pursuits are to be chiefly praised
but in restraining us at this second stage and
checking the impulses toward higher contemplation
they are to be feared or blamed.
They may in
certain minds be consistent with contemplation
but only by an effort
in their nature they are
;
"
But
always adverse to it (M. P., vol. iii. p. 313).
an artist, according to his teaching, need not be a
on the contrary, it
person of uncultivated mind
;
in
that a
self
Art.
man
of active mind
may
02
literature,
CHAP.
artists
of
This is as it should
antiquities, politics, science.
but in proportion as these studies obtrude
be,
and purpose.
One of
47. History-painting and Archeology.
the cases most obviously in point is that of history.
It is generally supposed necessary if one desires
to paint a subject from a past age that one should
be able to represent the cast of countenance,
follow.
ous
artists
feel
bound
to
and
artistic
historic interest.
So
far
as Mr.
Tadema
touches
the work of a
little
Science
VI
Greek
103
knew humanity
he
but
and Art
if
"
not
the
It is
in
the
Art these
historic attempts
are
writers
and
successful in
To most men
first
it
place
is
archaeology
a snare
is
in
the
students
ledge.
It
more
is
than
fail
to
that
those
pictures which
and
Where
04
other cases
it
is
noble.
it
its
CHAP.
aims are
illustrating history,
106-109).
In the second place, it is a matter of fact that
Great Art is careless of anachronism.
It was not
.,
and Raphael,
which
cultivated
though moving
society
Ciceronian Latinity and Plato's Greek, were more
desirous to expound their thought in its relation
to the broad aspects and strong feelings of
humanity than to dress it and trim it into an
historic
propriety
in
but Veronese
We may
In some cases
say more than that.
is a source of immediate and
the anachronism
powerful significance.
Rembrandt of Christ
meant
rightly
eternal
The
picture
ascribed
to
the
Children
is
Blessing
to touch us as an
example of the
The artist does
heads of
little
Dutch
girls
and boys
he means to
Science
VI
and Art
105
When
perspective was
first
studied
its
votaries
It is
their
some
other hand,
of
the
draughtsmen of
best
and
Art-Teaching of Ruskin
io6
CHAP.
more dangerous
"
thing.
learning is a still
All the rules in aerial
little
than
in
rules suffice.
to
The only
draw what
with
is
the
you see,
preliminary
understanding that your perceptions have been
thoroughly trained by a long course of sincere
study.
It may be objected that in The Laws of Fhole
the author recurs to map drawing and geometrical
exercises
tions
to
Science
49. Landscape and Natural Science.
examines the structure, Art the aspect of things
(M.P.,vo\. iv. p. 400) both seek the truth, but truth
of different kinds, and differently viewed.
It is
shall
to
make
a
which
possible
geological diagram
;
Science
vi
and Art
107
"
As
then, is this truth arrived at ?
an artist increases in acuteness of perception, the
facts which become apparent and outward to him
point.
How,
sympathetic
observation.
The
greater
part
of
Modern Painters
is
landscape painters.
It seems to be a fact that even those artists
who have
learning intrudes
value of the work
itself,
consciously,
the
artistic
from which
follows that the one thing needful for an artist
is
diminished
it
is
io8
CHAP.
weapon
There
Draughtsmanship and Anatomy.
are four facts which Mr. Ruskin claims to have
50.
In
first
place, as already pointed out,
interferes with the sense of beauty and
the
anatomy
the general
The tendency
of learning is to
to set the less important truth of
effect.
justify ugliness
is
is
chap,
4, note).
a more important
figure
is
degenerates into
looked upon as a
Finally,
though an
artist
Science
vi
and Art
109
Some42).
grasp of their expression (L, A,
times (that is to say, in Nature) the anatomy (the
structure) is delightful, but it ought to be neither
(read
M.
On
nor
concealed
studiously
P., vol.
sec.
ii.
i,
studiously
displayed
chap, xiv.)
this question
in
theoretical
that, putting
who
questions aside,
would not more
little
23).
what
artists
(L. A.,
107).
"When we
dissect
we
substitute
our thoughts the neatness of mechanical contrivance for the pleasure of the animal.
The
in
to ingenuity,
ceases
5
(M. P.,
.
vol.
The Nude.
ii.
and
beauty
p. 91).
no
Art-Teaching of Ruskin
CHAP.
Lect
As
the interior
way
in
studied.
is
it
much
In the
as in daily
first
beautiful.
It
life,
place, the
is
Science
VI
and Art
1 1 1
ledge
useless as
(L. A.,
42),
well informed.
sensual,
it is
compared with
better to be right
ethical
habit
minded than
viii.)
nude was used as means of high religious teachThat was the case only when it was treated
ing.
but as Ruskin
severely and in the earlier period
"
In
the
well-known
acutely remarks,
examples of
classical Art, the nude was by no means used with
;
"
Art-Teaching of Ruskin
ii2
CHAP, vi
by such
with what
for
beauty
is
noble
in truth.
Nature, sympathetically observed, is more beautisome of its elements than anything that can
ful in
But
it
very
its
movement,
Art-Teaching of Ruskin
ii4
CHAP.
and
this
arrive at
"
Truth
is
for imitation
said, if
it
an
Nature
is
;
for, they
the
more
like
the
is
more
beautiful,
picture
(the
deceptively imitative) the more beautiful it will
argument
more
custom, or association.
That Beauty
is
what
is
useful
involves the
a
degradation of it into an object of desire
doctrine that could only be held by those who
reduce all morality to selfishness, and rightly
;
more
scientific
idea that Beauty is the analogue of sexual attracta doctrine which Ruskin considers quite
;
iveness
beauty, unless
lower instincts
of
its
it
vii
Beauty
5
is
mining
the
question
the remark
that
its
own, just as
Truth
enhances
the
(as
It certainly
Beauty of beautiful
it (M. P., vol. ii.
ib.}
^Beauty., therefore,
is
objects,
but
cruality^Jiaving
an existence of
all
In his analysis of
use, custom, and association.
the subject Ruskin has been anticipated in main
principles by Coleridge, though he develops his
doctrine very differently.
The religious turn he
gives to it seems to me not inseparable from the
(M.
P., vol.
(Preface to
sec.
ii.
M.
when he was
i)
P., vol.
and reinforced it
His ideas
ii.)
writing the
first
in
in
in
but
1845
1883
1842,
volume, seem to
n6
Art-Teaching of Ruskin
CHAP.
those of
Coleridge.
Taste.
54.
which
adopts
distinction
predecessor in
may be
already
set
forth
received
Greek ^Esthesis
through
his
by
Pleasure
in
sense-perception
And, conse-
quently, by a metaphor, the faculty which perceives and delights in Beauty has been called
Taste,
gusto,
godt
Those
philosophers
who
word
of a
as
in
full
it
is
its
catch-
involving
artificial
refinement
is
Art
"
(M.
P., vol.
iii.
p. 67).
VII
117
Beauty
The
thought
school
is
to
which
Ruskin
belongs in
hand with
alism, originating in
55.
He
to
itself
as
an
an
tion.
He
is
"Theoria" or'
the soul
The
"
we regard Beauty.
of sense, ^Esthesis, are
they are also arbitrary
with which
pleasures
to intemperance
involve the fallacies that
;
Beauty
is
open
;
they
the result of
n8
Art-Teaching of Ruskin
CHAP.
We
and
Hence he
"
"
Theoria
(that is, this higher
contemplation) a moral faculty, and it takes
a place between sense -perception and intellect,,
embracing both, but resting wholly on neither.
"
on
Nature, as Coleridge says in his essay
Poetry or Art," is to a religious observer the Art
of God, and human Art is a mean between thought
and things. This position Ruskin adopts, and
consequently makes no such distinction as that
drawn by Hegel between Beauty in Nature and in
Art.
Theoria is just as much the grateful and
calls
it
is
of
Ruskin
with which
we behold phenomena
And
in their relation
confused Theoria.
In his preface of
may be
1
883
to
regarded as a sort of
M.
P., vol.
ii.,
he leans
in the
Beauty
VII
119
Paganism
is
good
in
the sense
that
its
of animals
ness
is
for,
some
(Theoria), for
"
sort
all
any part
The
in
contemplation
subject
of Art into
"
is
^Estheticism," that
modern school
Art-Teaching of Ruskin
I2O
CHAP.
by
and
aestheticism.
5 6.
The
Beauty.
Typical
manifestation
of
Infinity, as
This
Type
in
is
the
In the second
sublimity, as before noticed ( 1 6).
place it is the source of Beauty seen in curvature,
on analysis
bounded by
270, seqq)
The beauty
Unity, as
Type
is
to
them what
of Comprehensiveness,
is
radiating spring of leaves from one common startin sequence of variant individuals
ing-point
(c}
;
decorative
as
work
in
minor
121
Beauty
VII
and
it
is
difficulties
grasped
overcharged.
;
energy^
He
is
instances the
forced,
confused,
Laocoon
as want-
consist in
"
concealed, but
temple,
when
when
the decoration
picture
represents
is
that of a
religious
his sym-
The hieratic
metry to become more obvious.
for
the
of
Madonna
dei
arrangement,
example,
Ansidei would be out of place without the
122
CHAP.
feeling
of
it
faith.
(5) Purity, as
the
Type
of Energy,
of light and
influence
is
life.
the result of
Animals and
The
death.
Even
mere
taste,
modera-
is
shown.
With refinement
that
is
to say, restraint
patient continuance in
an
well-doing.
important element in
in
both
Nature
and
Art.
Some natural
Beauty,
curves and colours are almost invisible to untrained
This
is
123
Beauty
VII
We
like
wild rose
is
pretty because
[Unity of Origin]
by varying curves [Infinity] because these curves
are dual and symmetrically opposed [Symmetry]
because the five petals are bent into the form of a
cup, which gives them gradated depth of shade
because the shade as well as the light
[Infinity]
is coloured with crimson and gold
and
[Purity]
because both the gold and the crimson are used
;
in their
tints
"
[Modera-
tion].
He planned in the beginning. The Ruskinian theory finds Beauty in Nature as we see it-in all things, whether in growth, in maturity, or
what
The words
for these
and other
liberties
style.
pardon
Art-Teaching of Ruskin
124
even
in
decay; for
many
CHAP.
of ruin
ordained and
beneficent.
And
this
is
mistaken Ideal
each thing in
its
and
all
in spite
On
not seem to
this
world)
him
off
125
Beauty
vii
tdaircissement
immanence of God
in
Nature-'
and man.
His conception of Deity is not that, of any
His analysis of beauty
popular sect or school.
and imagination is not supported, but only illus-
trated,
attempts
by
first
why beauty
5 8.
is
to explain
scientific analysis
desirable,
Vital Beauty.
by theological analogies.
So far we have been illus-
it remains to
trating beauty of form
speak of
expression as manifest in animal life or even in
;
the
life
of Man.
Relative Vital Beauty means, in the
first
place,
and of this
the appearance of happiness in life
the Theoria (or contemplative faculty), which
;
126
CHAP.
apprehends
is
it,
unselfish feeling
or
wounds
however
a butcher's shop
useful,
or associated
is
not beautiful,
thoughts of
with
it
shown
is
Theoria is praise.
We always find
slothful ness to be ugly, and though there may
be points of typical Beauty apparent in slothful
creatures, their expression always raises disgust.
and of
Of
this the
reptiles
beautiful
in
everything that
is
The Generic
different
more
kind.
beautiful than
beautiful
horse
or
127
Beauty
vii
is
imagination
it is
the reason
from the last sort of Beauty
why, to an artist, most artificially-bred varieties are
;
monstrosities.
man
In
this
Generic
Ideal
(already
so
far
We
ideals
and our
interest in
And thus,
a different standard for each person.
to see the beauty of man we must take into consideration not merely his generalised anatomy,
but the character of his soul as an individual,
and as writing
as
itself
they are
59.
But
Beauty of man.
as though
it
it
should
128
always do
so, for
Truth, and
CHAP.
it
real gain
In the next
exclusively beautiful surroundings.
place, the value of Beauty is not perceived without
some
foil
And
of ugliness.
in
many
The
refused to depict them (M. P., vol. iii. p. 35).
desire to exclude every form of ugliness throws
us back upon sensual beauty and a limited range
of fleshly art (M. P.,
vol.
iii.
it
and brings to
light
p.
It is
above
rises
evil
and
ugliness,
and
goodness undiscerned by the ordinary spectator
(M. P,, vol. v. p. 2 1 3) while it is the condemnation
of the baser Renaissance School that it tries to
set Beauty above Truth (M. P., vol. iii. p. 260).
Great Art is praise, and only that picture is
,ynoble which is painted in love of the reality.
Ijjhe best is that which best represents the love.
beauties
unsuspected
This
presence.
From
this
is
F., chap.
we
i.
4).
End
of Art
is
not
it is
129
Beauty
VII
And
which
is
this
artistic
him
of Nature's freedom and
upon a work
infinitude
of Art
as,
for
struggle, for
life,
is
the
Parasitical.
End
We
have noticed (
16, 56)
not a separate and distinct
of Art from the beautiful
that it arises out
60. Sublimity.
that the sublime
is
Art-Teaching of Riiskin
130
CHAP,
vn
questions that
discuss, until
never
be
imagine
known
his
but
by experience.
smile at this
attempt
to
can
note the
CHAPTER
VIII
IMAGINATION
6 1. Ars
homo additus nature, In our last conupon the subject of Beauty we found
ourselves drifting away from the terra firma of
natural facts.
We saw that not only does Art
select elements of Beauty from objects which
est
siderations
possess
many
represent
is
still
much
more
that
is
puzzling,
and, what
seemed as though its
not beautiful
it
toward Beauty.
It reads at first sight like a
paradox, this doctrine that Art sometimes is
forced, by the mere love of Beauty, into repreBut in order to dissolve the
senting ugliness.
contradiction, we must examine the
process of artistic production still further.
In the first place, we must give up the idea
apparent
132
fulfil
all
CHAP.
the requirements
of great Art.
Why
is
it
that photography
is
It
action, are all at the will of the photographer.
has been said that quotation is a sort of literature,
because it reveals the mind in its choice and
The
Realism.
painter, perhaps,
has not
asked
the
himself,
consciously,
commonplace
truths.
vin
133
Imagination
The
seem to us a yellow
and
nothing more, or whatever trivial
primrose
manner
of
parables of
prove his point to readers who have not something in themselves of a corresponding power of
We cannot raise these artists from
imagination.
of
most
cases,
great part of
reason
believe,
why
although
it
I am quite ready to
Ruskin says there is no
won't.
Mr.
Art-Teaching of Ruskin
134
CHAP.
The
is,
there
question for us
liveliest
The work
critic
is
of the
conscious of in
all
that
is
is
only one of
wanting
in
thought
is
it
and, similarly, in the higher forms Theoria
In the world, it is said, there
overrides .^Esthesis.
;
This position
"
is
drawn out
in
the chapter on
P., vol.
v.
The
the
lie
this
broad
meaning
to
to create a
the
word,
VIII
Imagination
Imagination
it is
Jacobi
the domain
;
135
In
religion
Science
tries
to see
distinction
because
and
and
Imagination
false.
is
According to
earlier theorists,
but like
all
Art-Teaching of Ruskin
136
CHAP.
in
his triple
division
associative, penetrative,
and contemplative.
What is usually
64. Associative Imagination.
called by ordinary artists and critics composition,
is
the arrangement of the picture
and the
;
academic
theorists,
who
for definition
substituted
mechanical manner.
among
some
forjn of imagination
a matter of degree
7
genius
/
deliberative process
working out their
in
is
is
;
occasionally present
certainly an unusual
It is
attributes of
power of combina-
it
proceeds by modifying
first
impressions, and
VIII
137
Imagination
and
nature, ending in monotony
mere cumulation of picturesque
pleasing no doubt to the uncultivated
same
it
the
but without
is
leads to
material,
spectator,
artistic value.
It may be
use toTTF; rules none whatever.
to chemical combination, as contrasted
with mechanical admixture, which the other process more nearly resembles.
little
likened
artificial
composition.
The
criterion of Associative
Imagination is the
appearance of absolute truth, and satisfaction in
the result. __
laboured arrangement is either
formal or
considered
imaginative composition
has seen the whole subject at a glance, ancTgrasps
its
ill
unity.
It
is
not only
tion
that
is
of
useful,^5uT
it
has
diiolliei
office,
liamely,
discerning or divining
fundamental character of the subject,or_cai
intuitively
the
138
CHAP.
ffieortesr
The discermnenir^r
genius,
its
name
popular use.
In his early period Ruskin tried to distinguish
true insight a^^Imaginative. calling all the confused
and delusive J3lay_o association by. the name of
Fancy_j_but this distinction he abandoned later on
as merely nominal, and in his Oxford Lectures on
same
faculty
may
be at one
hy.-j-prh'nnc;
induction
a highly developed Imagination__these vague conceptions~~can T5e "variously joined and united to
others, even to the extent of losing their identity
and undergoing transformations which are, as it
139
Imagination
VIII
were, visible
We
metaphors.
The
see
this
often
in
artist
in
cess,
It
its
ideag^
this pro-
painting and
and yet
two conditions.
sculpture
frequently under
it
occurs very
the first
In
not
is
permissible,
strengthened to
make them
It is
very
Art-Teaching of Ruskin
140
CHAP.
Art,
first
of these
iii.
chap.
viii.
mingling of
terror,
beautiful but
Titania,
The
and
imaginative
serious work,
And
Scott's
it
sport
accessories,
which, though
and
it
vin
141
Imagination
allowed free play for their own devices, little trammelled by the architect's design, they produced the
In Modern Art
Grotesques of Gothic sculpture.
In both
the same place is taken by caricature.
of
the
the
cases,
delightfulness
Grotesque consists
greatly in the candid imperfection which shows
that abstraction of sketchy form which
origin
noticed just
now
its
we
as a condition of contemplative
Imagination.
The second
awe
felt
source of Grotesque
is fear.
Human
stupendous Natureincomprehensibility is an
in the presence of
dominant
to
all
it
or to
issues in Grotesque.
It is not given
at
all
times
to
face the great
any
142
as to discern in
They
life
CHAP.
is
In the
no escape.
first
case,
when placed
there
is
no grasp
in
it
This state
imaginative
but it leaves
its
Art,
in
coldly
much
The second
is
in
The
third condition,
though
it
does not
rise to
dreams recorded
in
the
Bible
of
Joseph
and
143
Imagination
oracles, in ^Eschylus, in
"
which
it
would have
Sy
nbolism.
way
"
difference
is
when
striving to
is
superhuman ideal,
partially _inca.pacitated, through terror, from seeing the beauty
express
of visible
is
law
in its subject
truly" Imaginative
that
is
his
cnnreptinnswh^ch_rnnTe qt
on the one Hand from the highest
It differs
by which the
artist
is
and expression
or else
it
may
arise
from the
defi-
iii.
chap,
iv.) is
St.
Mark's,
Art-Teaching of Ruskin
144
CHAP.
Venice, where the most important truths characteristic of the olive-tree are noted, in spite of the
impossibility of rendering any imitation of foliage.
There
the one
are, therefore,
expressing
abstract ideas
to represent.
This is seen in landscape otherwise
in
as
the
realistic,
spiky rays from the sun in some
and
unity between the realism and the symbol
Art
is
not
received
as
symbolic
satisfactory except
;
in
(M.
P., vol.
is
sketchy or abstract,
decorative
iii.
of the rest of the design bears out the suggestiveness of the symbol.
Blake's Book of Job is better
in its abstract
colour
or
are best
if
when
the colour
purely decorative
is
as
in
VIII
Imagination
but
in the
beyond
145
this
is
attempt to realise
said, is
we have
when to
In
iii.)
Pheidias
when
but
the purely
culminated
religious
in
spirit
culties,
and
nobler type.
diffi-
fall
is
shown in Holbein,
Pope, Goethe (A. P., Lect.
this
Dlirer,
ii.),
Shakespeare,
condemned
as
P.,
Symbolism by many
unfit subject for Art.
vol.
iii.
chap,
viii.)
critics
is
and most popular works of Art are for the most part
and he adds that, to the
aTIegoricarand symbolic
artist, this kind of work is welcome, because it
permits a wide range of incident and great vaWhen it is remembered that
riety of treatment.
L
;
146
CHAP.
symbolism
be
felt
Art would
manner
in
may
revive
Gothic ornament.
It is
pathetic
The
fallacy.
third
is
that
in
which
The
particular.
last state
is
iii.
p.
tion,
163).
and
This
it is
is
shown
of noble Grotesque.
It does not follow that this
last state of mind is the best and most useful for
men, as
it
certainly
is
may be
and the
VIII
147
Imagination
Imagination
ence of a
common and
Divine
spirit
is
a phrase which,
we have
less
noted,
shows
itself in
summoned by the will in its most striking development morbid, or resulting from a weakness
Art-Teaching of Rnskin
148
CHAP,
vm
when
whenjitjs used to
realise falsehood
and to pander
no worse
CHAPTER
IX
is
his lectures on
no notice whatever
In
70.
"
"
To
understand
completely
all
disease of the
human
spirit
hence
its
importance
150
CHAP.
Carlyle, his attitude and principles are much thesame, and are nowhere more distinctly shown
just reviewed.
man
whom we
a
is
partakes of absolute
call
men
great
not
his
by any means
works
may be shown
He looks into
will
fetch,
to have
had
the work of
public.
for those three qualities which, united,
Intellectual capacity, which
great Art
upon his
any man
create
is
contributes Truth
condition of Beauty
is
ix
level
151
earth.
in
Carlyle
man
manifestation of Deity working through Inspiration, as we have seen ; not quite out of the range
of human control, for the spiritual life which is
produced
human
by
effort
it
needs, as
a co-ordinate factor,
and persistent
will
for
good.
It
in
Talent
work
attainable, in
152
CHAP.
Painters,
vol.
iii.
chap,
iii.,
the
author gives four tokens by which we may discern this greatness, of which, and other means
we must
of criticism,
proper heading.
is
that
the
'
"
sum of
the
human
Great
'
all
Hence we
soul.
is
(as assuredly
tinctly in this
in
"
Greatness in Art
all
than
vol.
iii.
criteria as
hardly
less
difficult to
contemporary
artists
apply them
just as
It
is
in the case of
we cannot measure
taken at
its
tance that
base.
we
see
It is
how
ix
153
life
is
always
different
It
not sur-
is
nothing to do.
Its
its
use
is
threefold.
all
We
Religion
in
book of Nature.
But while
all
Great Art
is
thus
God.
It is by no
73. Art as viewed by Religion.
means universally accepted by religious people of
Art-Teaching of Ruskin
154
CHAP.
and
its
as
There
is
upon
men
they
whom we
eternally the
same
is
readily
Both these
are
in
of
wanting
parties
completeness
grasp and
clearness of vision.
Mr. Ruskin belongs neither
to the Ascetic side nor to the ^Esthetic, though
he has affinities with both, in virtue of which he
He
irt
ix
and Religion
religious
appreciate
Ages, and
Painters he tried
.n
the
painters
second
155
of the
volume
of
Middle
Modern
terms of
it
orthodox.
Protestantism in
its
power
the good
intentions
and
the
defects
more
justly.
156
74.
CHAP.
Apart
claims to absolute truth, Religion, of whatever sort, means the love, reverence, and dread of
from
its
to morality,
successively
attached
to
we cannot
Truth,
Beauty,
and
the
Imagination,
of
one
of
them
reach
necessarily
every
highest
The highest Truth attainable
touches Religion.
fail
to
that
see
Whence
with
in which these
an index of the reach of
an index, however, which
religious attainment
For we must watch
needs very careful reading.
it
follows
that Art
is
is,
Art and
ix
157
Religion
Greece was humanity, and we find that the progress of Greek Art, as actuated by the aims of
science
original
sin
worm -twist
the
unlike
Teutonic
of
Animal
life
appears
in
fuller
Paganism
classic
variety,
design.
and the
human form
those
who
Renaissance
subordinate
parade
Religion
their
architectural perspective
to
classical
(M.
P., vol.
Art
in
feeling
iv.
the
with
chap, xx.)
158
may
It
that
CHAP.
Oriental
Art, especially
the
more modern
Their final
been quite without parallel elsewhere.
is
to
those
movements
which
development
owing
Natural
Science
their
simultaneously produced
;
first
beginning is
But it is only
belief
moment Art in
Thrown on its own resources,
development.
once realised no
must either go on
or else it must seek fresh
longer
offers
stimulus
it
material.
It is then that we get to
75. Religious Art.
the differentiation of Religious Art from profane.
There
is
no such
Now-
ix
159
the luxurious
when
it
Roman
And
its
Hunt and
The success
of such revivals
most of
it is,
a hypocrisy.
spirit
of our
But when we
what
recollect
take.
160
CHAP.
we think to be superstition, or
lament
at the disappearance of what
we
whether
be
Faith.
we trust to
downfall of what
his religion.
The
vital
fact
about Art
is
its
by what
does and
leaves undone.
Though
have
mediaeval
passed away, we are not
without a creed whose pure religion and undefiled
it
beliefs
is
in
is
memory
effete emotion by
of
more
vivid
still
presentations
martyrdoms and
Wherever the religious ideal is in
Madonnas.
advance of the artistic capacity, there Art is vital
when the reverse is the case it is vicious and
decadent, and though some sporadic survival may
;
ix
161
first
is
present,
step,
to
realise
We
now are beginning to recognisethe least of these our brethren," and our
first step to a true religious art will be to feed
and clothe His image, to open the door to Him
Creation.
God
in
"
He may
dwell with us
Love
it
will
by
and presence
is
62
CHAP.
ii.
chap,
Giorgione's great
iv.)
Madonna
find
themselves
is
at
at
an end.
variance, the
vitality
of
Religion
of keeping awake and enforcing the fading belief,
but in doing so it appeals only to the weak, for
to all sturdy minds the picture and the dogma
as
it
is
really
God
accepted that
the earth
is
His
footstool,
and that
if
He
has a
in
religious
ix
163
"
restore
"
relic
as
no
we
we
by
we
mere Pharisaism
upon which our
nineteenth -century prophet denounces woe no
less than upon the Sadduceeism of sceptical en-
truth, or else
of
modern
./Esthetic
Religion,
lightenment.
Many men
afterwards considered
own
hand/'
not consciously in
neighbours.
It
may be
Art-Teaching of Ruskin
164
CHAP.
fail
to satisfy the
religious
public.
clever
and
in
who seem
religious ideal,
whose
lives,
ideals.
Art and
ix
165
Religion
but for
And
his.
The
it goes.
greatest Art is the
way
they were generally men who had too much imagination to be irreligious, but too great a scope to
subscribe in
full
sincerity to beliefs
which the
spirit
CHAPTER X
ART AND MORALITY
"
Good,"
78. Ethical Laws and Practical Rules.
as we commonly use the word, is a relative term ;
it
means nothing, unless you can answer the quesSome things may be
"Good for whaf?"
tion
ends
but those ends may be
Art is not the exclusive possession of any narrow community
though varying
good
for certain
Now
mistaken.
What is
completion it is universal in essence.
good for Great Art should be found good for
humanity in general, as viewed from the highest
in
And the
standpoint of all-embracing thought.
virtue of an artist as an artist should be the virtue
of a
man
as a
man
not as a
member
of
enjoy their
highest
some
conduct
;
rules
chiefly negative,
It is quite external
it demands
called morality.
conformity to use and custom ; it shuts its eyes to
;
CHAP, x
167
them
all
instincts
and
whole
from the
attributes,
appetites.
is,
of the
man
considered as acting.
If Art were a mere matter of craftsmanship, of
dexterity, of imitation, of ingenuity, we should not
dependent.
The Imagination
great motive power
as above
it
described
is
the
man
his
68
CHAP.
is
Morality
without
it
Morality
is
low, with
high
Lect
iii.)
79.
common
It is
and,
reproach that artists are immoral
by the standard of customary social
;
judged
fall
short in this, as
It
is
point, however,
;
you
to
know a number
do not
of artists perpoint of
differ in
But
large.
if
we
"
ask,
What
is
artists ?
169
emotions and
finer
(that
is,
susceptibilities.
all
the
less
selfish)
We
cannot
is
gift
the
of the greater
But, as
manifestations
artists.
most striking
we have
seen,
of Art
have
former conditions.
history of nations,
individuals
artists,
virtue,
partly
And
it is
so far as
if
this
be true in the
we know
heredity,
partly
of
early
training.
When
Art-Teaching of Ruskin
170
CHAP.
ceeding in age.
The Effect of
80.
Art.
fail
If
to see that
it
Art, as
The
The whole
57).
the
The whole
the
detail,
we
find
that
evidence of the
valueless.
colour, that
misconceived
is,
It is among
quality, neither gaudy nor funereal.
the early religious painters that colour is carried to
"
circumstances.
illustrates the
argument.
may break some of those commandments most held in esteem by society, but
he cannot be really vain or selfish for his power
of work depends upon calm of mind, and cannot
great artist
be carried on
mean
in the
by vanity and
selfishness.
the mind
of this kind
is
work.
that
there
is
;
and
just as in daily
life
we
see a man's
172
CHAP.
mind
that
"
incorruptible
(L.
A,
1).
173
Another reason
for
the doctrine of
"Art
for
"
the
equally grounded on fact
"
denial that greatness in Art depends on
literary
subject," and the assertion of the importance of
the handicraft element.
Though Ruskin in his
earlier years was less clear about this than in his
later period, and his language has been misconstrued and misused by the upholders of the
"
"
and moral mission of Art, he
literary subject
has always been aware of a deeper truth than
those who fancied they were supporting or withArt's
sake
is
human
life
and, complicated
as
public.
82. Didactic Art.
he says,
"
It is in this
is
more or
connection that
less didactic
"
if
Art-Teaching of Ruskin
174
CHAP.
or
or
bad Art
are
learnt
Sham
is
modern Art
is
of his
His mere
when the
spectator
is
significant
observant.
But
"
It is
much
"
Gallery
for
they are
the
evidence
of powers
175
It
finds
piquancy
in
them
if it
and,
be only to the
pure that
when
picture
in
for cavil
nature
all
it
Morality
mind
it
"
Art
perfects
it
sets
Upon
may
manly
self-
is
learnt in all
Art-Teaching of Ruskin
176
CHAP.
attention
subjects commands
the lightest or rank
is
alone appreciated
bility in those to
if
we
whom
it
And
appeals.
similarly,
work which
sometimes
But the mere
small
it is
limited to himself.
the ethical
nation.
may
given
It
artist's
work
must be there
which he sprang.
The Art-capacity
is
not a
177
And when we
man.
virtue
is
growing too
ideals are
forming
stand-
coming Art.
Again, in the
decay of national
command,
"
Do
this,
or starve."
And
178
observation which
is
CHAP.
That
begin with.
affair of Ethics
an
is
;
the
distinctly
artist's
as
work
artistic
instinct.
to represent
and degradation.
179
Without the
first
Without the second you get affectation, makebelieve, one-sided and weak regard for appearances
and that is also a form of Vulgarity.
The reverse of Vulgarity, whatever we may
call it, means something that conventional precepts
it means
of Morality cannot give
high development of the whole man considered as acting,
;
good breeding
in
its
true sense.
This leads to
cunning, the habit of overreaching, and the enjoyment of successful deceit or to the attempt to
;
reflect
themselves in Art
When
Art-Teaching of Ruskin
180
CHAP, x
figure, as
beauty
the
in
is
human
the ex-
The common
"
is
of " beauty mania
eminently vulgar,
it is untrue, and partly because it
because
partly
to ^Esthesis and not
appeals to the lower passions
ideal
to Theoria
of subjects by seeing
foolish
and by
indicating, perhaps
relation to broad ethical laws.
If
it
human
life
unconsciously, their
Ruskin
regarded
the
"
"
As
it
is,
he
human
action.
oK
CHAPTER
XI
We
the circumstances of
Art
rules
its development.
not a thing that can be learnt from
the talent is instinctive, that is to say, the
is
result of inherited
as
much
in
men
memory
and
as in other animals.
The mere
and
who
24).
"
The
Fine
82
CHAP.
by heredity and
We
71).
means
talent
what?
down from
Dutch.
When Art became academical a thing
of rules and ingenuity, no longer the free employment of unconscious powers and when it offered
prizes in wealth and reputation, it was
"
adopted as a profession
by clever men of all
kinds
and very cleverly they have sustained their
high
"
reputation.
And
great artists
whose ancestry
is
known,
it
is
inter-
how
esting to find
or richly
formed an
artist.
Where
this
we
ledged,
usually find that very little is known
about the artist's ancestry, as in the case of Giotto
and Turner.
munity
is
xi
183
is
that
capable character.
87.
ments
may
;
but
However
creditable
it
is
for
thinker
to
184
and unaffected
feeling,
CHAP.
it is
bounds, with complete power and insight
parallel to the vexed conception of Freewill in
;
Ethics,
It is mere ignorance
recognise their continuity.
which engenders the vanity of supposing that we
can invent, at a stroke, a new style of architecture,
when
healthy
it
is
and
tradition
unconscious.
The
is
only
.son of a
of the
be charted
in
a diagram.
When,
at the Renais-
native
ideals
those
of alien
a variety of
graft
races,
upon
an
his
eclectic
xi
185
attempt to combine all manner of incompatible ideals, we see everywhere a sort of hybrid
experimentalism, which may indeed ultimately
result in progress, but is, for the time, anarchic,
in the
"
"
the Parisian
.wooden spoon.
of the
objects
technical
student's
methods
and
imitation,
most
in
qualified to teach.
manner of
Titian's
recommending
Reynolds, in studying
colouring,
was perfectly
his pupils to
another
is
it
quite
right
different
The
much
affilia-
a fact
one painter to
thing from the
refusal of tradition,
Pre-Raphaelites did, and to attempt the re-introduction of methods which a degenerate school has
And yet even this has its dangers and
forgotten.
limits
affectation
when
original only
sincere in
its
86
CHAP.
with tradition
all
p.
n).
It
can never be
individual
artists,
artist,
may hope
and
more a
still
to proceed
to
the
illustration of
repetition, of
now mere
Oriental races
may
be
many
There
excepting the Japanese.
reasons for this absence of the
desire for Truth, the chief being some unhappiness in material or social circumstances, inclement
body
it matters little to
oppression, and rapine
the result whether they are the robbers or the
politic,
nation
is
if its
roots
xi
some
And
subsoil.
187
the
first change
exhibits
Art
that comes over the old barbarous
The early Greek Art, of
a desire for portraiture.
Cyprus for example, shows this in a striking
manner
the early Lombardic sculpture of S.
32); the early
Ambrogio at Milan (T. P.,
fertilising
Norman
work,
Norman
of our
northern
manufacture into
vital
Art with
potentialities of
is
to
development of many of our paragraphs
wander among deeply interesting detail but our
;
object
is
the love of Truth, that it attains greatness in proportion as it attains the power of representing
aim
after
it
falls into
Truth
is
aim
tries for
Art-Teaching of Ruskin
88
The Great
89.
CHAP.
Schools.
and
supereminent
achievement
separate aim
the Athenian,
various develop-
more or
and Egyptian
less,
of Pheidias.
these
to
sculpture
ancestry.
And
its
all
Phoenician
as
as
subsequent serious
collateral
Art owes
to rival
these
three
schools,
for
the
trivial
realism
of
not
"
Great
variety.
"
Art,
There
is
but
an
inferior
and
stunted
xi
and
partially
Landscape
One can
and
illustrated
but
it is
189
modern Art
the
its
of
history.
surviving naturalistic
extinguished
by
masters,
passing
is
not yet to be
of French
fashion
Romanticism.
Omitting, then, the contemporary school (but
not excepting it from the principles of our investigation), we are to note how the desire for Truth
produced such different results, and how it manifested itself in the Imaginative Art of Athens,
We have already seen that
Florence, and Venice.
Greek religion determined the anthropomorphism
Because the whole race believed
of Greek Art.
in humanised conceptions, human powers, and
humane virtues, its creed and myths and art of
idol-making were directed to the study of human
For the first time the religious artist was
nature.
bidden to look at something he could see with his
the natural
eyes, and to copy it as he saw it
was
which
a
in
earlier
Truth,
only
by-play
styles,
;
became
form
treatment
idealism, the
and
Art-Teaching of Ruskin
190
representation
of models
studied
from
CHAP.
Nature,
The whole
though posed according to tradition.
strength of Greek Art is based on this habit of
truthfulness, and if, at the time when the mimetic
power was fully developed, Greek social and
political life had not broken up and fallen to
pieces, a great school of portraiture would doubtless have been formed, anticipating the achievements of later ages but the decadence was too
rapid, and nothing was left for Greek Art but
prettinesses and sensualities, upon which to em;
ploy
its
unparalleled
technical
abilities
(L.
A.,
104)It
is
commonly supposed
is
He
80)
will
xi
common meaning
of the term
that
191
is
to say,
its
greatest
sacred subjects.
and Morality
quite
ascetic
Its
Christianity of the more intellectual type.
"
"
to
human
charsoul
to
was
give
paint
object
acter as expressed chiefly in the face, secondarily
in the limbs.
As
human
with
all
Greek work.
Art-Teaching of Ruskin
92
CHAP.
of the Church, with something of Teutonic individualism about them (M. P., chap. v. p. 219).
The characteristic of their mind was common
costume and
nearer than
other
to race
in
of
differences
habitation
enough to account
and moral temper
and
employment
and
are
of mental
this
with definite
realistic intention.
(The difference
between Greek and Gothic Schools in matters of
treatment
90.
is
These three
xi
193
"
Tuscan, and Christian worldly life the Venetian
to which may be added the Protestant School of
Landscape, as we noted, not yet matter of history.
In these schools the beginning was the desire of
:
Truth, coincident with political and social upstriving, respectively on the ^Egean, in Central Italy,
might
and then they began to give place to the
But Art did not attain its full perfection
decline.
until the nation had passed its meridian in matters
I do not remember that Mr.
political and social.
Ruskin gives a reason for this, though he notes
ment
the
fact
but when
we
recollect
that
beautiful
satisfaction
and that
beyond the meridian turning-point
is more rapidly passed in history than one
point
This is
would think, or than one could wish.
Pheidias
we
find
with
Kleon
why
contemporary
and Alkibiades Raphael and Michelangelo with
;
Art-Teaching of Riiskin
194
CHAP.
come
smaller schools
to their full
power
at various
for
The Gothic
architecture of
'artistic
is attained
the full developwhich
is reflected in
character
special
and the decadence is marked by
the special Art
the preference of Beauty to Truth, corresponding
with luxury in the society producing or demanding
of national character
ment of the
rank
in
jects
And
that
Gothic architecture
is
greatest
when
its
most prominent
sculpture
decadence (Flamboyant and Perpendicular
best
is
the
figures
(T. P.,
By
and
are subordinate
to
figurein
its
styles)
38).
the
xi
195
that which immediately precedes the final efflorescence and grandest manifestation of national
style
tion
whom
all
previous tradi-
time.
even then
history as blots and patches of decay
the conditions of talent exist in places
country
:
some of
villages breed up men of the old blood
the towns-families preserve the traditions of rectitude and sobriety
and out of these may spring
;
at
And
gifts.
Art-Teaching of Ruskin
196
CHAP.
his
power
he cannot
fully use
it.
The
better
and
his
his
back
their
own
ideals,
and worked
for popularity.
In
what they
might have done had they found a welcome for
an intelligent acceptance,
their exertions and
tolerant of necessary shortcomings and appreciative of the advancement gained.
That demands
fell
far short of
xi
197
now seen to
in those times when men
reached
were unacceptable, the
be the leaders of their art
standard of public intelligence must have been low
;
and inadequate.
And yet in any period of decadence good work
is being done, good within its limits and in its
way chiefly, however, as showing cleverness, the
But to the philoleast of all the virtues of Art.
;
it is not a pleasant sight to see the cleverness which might have been put to noble ends
on adorning cruelty or pampering
sacrificed
sopher
And
luxury.
after a while
very
lost in
Rome
taint of slovenly
coarseness
work and
superinduced barbarism.
But
all
not
move with
decay.
are separate
between
vital
is
really great.
Many a vital art and craft has existed which has not risen to the greatness of the
Art-Teaching of Ruskin
198
social virtues
CHAP.
out.
Though
in Italy,
in
own
separate school
and the derivative Sham Art, a thing of eclecticism
and patches, was unknown until, towards the end
its
It is
that
condemns
may
exist
in
chiefly
The
in his
patronymic village
xi
199
is
on
no
no Roman
There
one.
power, the
is
national
determines
spirit
both the
which
it
will
be put.
and
to
them up
naturalise
exotic
hothouse of
dilettantism.
All the pseudo- classic Art of this
and just as alie'n is the Gothic
Century is alien
revival wherever it tries to adopt the externals of
mediaeval work.
What we have to learn from
the Greeks is not to draw or carve nude figures
with conventional anatomy, but to approach
Nature with that earnest observation by which
the Greeks of the great age learned their business.
tastes
to nurture
in the
And
Art-Teaching of Ruskin
2OO
CHAP.
exaltation
truthful
we
We
imitate their
that
is
instinct
it
train
ing
is
it flag every forenoon after the petty excitements-of the morning newspaper.
Decoration is impossible to the average Englishman as he stands
able of
being
translated into
plastic
form, but
is
xi
201
We
can
paint
portraits.
The very
insight
hold their
We
reason
own
in history.
The charm
and animals.
of
mingled
We
and
have it.
We can paint landscape. The fact of our
dwelling in towns gives us pleasure in country
still
sympathy
for
Nature
and the
asso-
to our imagination.
The instinctive
love of landscape in us has this deep root, which,
in your minds, I will pray you to disencumber
interest,
scenes that
and
arts
children
Political
it
is
it
is
"
(L. A.,
Economy
25).
of Art.
And
lovely for
its
CHAPTER
XII
must
is
it
after
all
for
CHAP, xii
203
Human
Nature
Art
for
when
the
have to make
will
land
in
is
artificial
its
in associations
of
is
,
a relief
it
brings
in
2).
mitigation of Nature's sternness (T. /*.,
Take away all trace of man, and what was
sublime
2 O4
"loathed her."
to
of
touch of humanity
CHAP.
is
needed
sense
much
the presence of
Art, far from
man,
repetition.
man
it
in
it is
not
man
;
Nature's laws.
When man
becomes more
civilised
that
is
the
reader
who has
xii
205
that,
the externals of
for
life
a strong and
beautiful, for
vital
artistic
it
is
impossible
feeling to coexist
landscape scenery it coexists with agriculture, not with widely extended mining and
there
is
20)
his labour
begun.
Of
late
painting
appealing
to
benevolence, purging
by
pity
and
is
great.
For
all
Art-Teaching of Ruskin
206
CHAP.
are
a Titian
a home-bred Artist,
index of the achieved crown of civilisation, warrant
of widespread rectitude and purity of life, token
of true faith in whatever creed may present itself
as ultimately believable
proof of a lovely land
cotton-mill and
own
more anxious
limitations
to
sell
it
fit soil,
Much
imitation of
come by
and, when it is
of
article.
at
the
the
imitation
found, goes
price
Its true value is not to be measured by its cost in
real
article is
rarely
xii
207
means
Art
is
for instruction.
when
is
enough
real
to under-
civilised
That
it is
when some
more sympathy
writers of
and cannot
this
all
sell his
work when
it
is
done.
To
a short answer,
If you do not like painting,
sentimentalism there
is
If
all civilised
never happy unless they are painting
nations and persons get their greatest pleasure out
of one or other of the Fine Arts.
;
Secondly,
Not
only,
it
is
though
keeps history
the best
alive,
means of
instruction.
this
is
Art-Teaching of Ruskin
208
CHAP.
of museums, the
the
eye
the
securely held.
and studies his natural history, or geography, or
mineralogy, or whatever it be, with the pencil in
his hand, he never fails to learn more, to observe
more
closely, to
remember more
is
only
now
clearly whatever
As
a help to school-teaching
gradually being understood that
drawing and
Art, Lect.
ii.,
1857).
What money
through which
may
we understand by government
be doubted
all
organised
but
if
effort
xii
209
Art, and,
press
St.
George's
which
But
in
Utopian
scheme,
justice of the
ment
unless
that
demand
he
not
does
for education
the government
that
it
allow
the
and employ-
gives it has
there must be
old-fashioned
not in any
modes of admi-
nistration.
from
J.
To
virtues of Loyalty
recurrence to ancient
E.)
discover Art
is
the
first
requirement.
Art
begin with
CHAP.
exists
among
the
lower
classes
"
no
"
artless
much
peasantry
possible (L. A.,
79)
of it is wasted by the employment of men, who
might be artists in the minor crafts, upon mechaniis
but
in
workmen
But these
has
it
in
newly -established
affairs are
taken
for
only
arts
and
crafts.
in their infancy, so
in
long
1857
to
fructify.
Another way
in
xii
The
97. Application.
crushed
must
must not be permitted
it
211
up
competition of worthless
rivals.
The
struggle for
still
And
more, to diamond -cutting.
to
which
will
accumulate and
thirdly,
lasting work,
add to the wealth of the country. An enormous
granite
amount of
trations,
is
for the
On which subject
only what they mean to keep.
Mr. Ruskin has said many things in all his work,
and
his
Utopian ideal
recognised
by the
is
better
buyers everywhere.
98. Accumulation.
now beginning
class
to be
of workers
and
fancied
Art-Teaching of Ruskin
212
There
CHAP.
is
no very
serious fear
make
believe
that the manufactured copy is equal to the oriNot that much cleverness is not shown in
ginal.
"
Christmas Supplement
One
one glimpse
sight a year
more
in
"
can only
refined Art.
a lifetime
of
What
really great work gives a lifelong impetus.
artist does not recollect some one picture or
statue,
seen
for
pedestalled in his
moment in his
memory ever since
youth, and
as the ideal
vours
cares
sake
or
if
only
As
fit
Now
xii
213
Living Art
things will
increase.
It
is
better
for
now
a question
by
this political
economy
in the
Real Art.
Therefore
it
is
in the
decadence
now struggling up
we must expect it as necessary
214
CHAP.
As Art
is
in schools
For
this
purpose
Art
didactic
is
scientific,
useful
the "
mind.
archaeological,
High Art
"
and
of the
(believe an eye-witno
proof of the fallacy of
ness).
Ruskin's doctrine, rather the reverse.
Pictures and
Art
of
are
found
in
schools
to be
objects
many
most powerfully influential and sincerely admired
but they must be living Art
that is, not his"
"
Art
churches and all
torical
Schools
and
high
men
where
assemble
for
amusement, or
buildings
or
should
be decorated
instruction,
deliberation,
with the best work that can be got they are the
proper places upon which to bestow the wealth for
which there is no money value.
At railway
stations we do not assemble for amusement or
as a target
for
But that
pen-darts
is
them
as quickly
xii
as possible
consequently
that railway stations are
;
it
fit
is
215
not to be allowed
anarchic
meretricious.
are, however, pictures that cannot be
a school or a church, nor counted part
the
decoration of a modern building
There
in
hung
of
the
artistic
for
such things
is
the
There
foolish
is
in their
money
value, nor
CHAP.
It
from the sphere of its immediate influence.
in
in
the
the
to
be
found
household,
street,
ought
While
the school, in the place of assembly.
even a glimpse of a great work is stimulating, the
full power of good Art does not tell upon the
mind without perpetual presence and ever-recurring
in
influence
and
is
presence
it is
Con-
sequently every
its work of Real Art
quantity always and
in
home ought
to contain
ordinated to quality.
To this end the
100. The Wages of Art.
should
be
of
kept down, so that
pictures
price
one
his
not
every
may possess
specimen or two
of really good and great and pleasureinstructive
Art.
Such broadcast disand
giving
tribution would not impoverish the artist
for
the free purchase of modern work at moderate
prices would stimulate at once the supply and the
demand for every picture is an advertisement of
a sample which can be tested and
the right sort
his gallery
tasted
by
It is
all
comers.
money expended by
perfectly
buyers
who
con-
boorish.
On
xii
217
would be
in
anybody
its
work when
forms to
it
is
common and
The
everyday use (T. P.,
96).
Wages of Art are earned in the consciousness of
widespread pleasure and instruction, in the knowledge of function fulfilled, in the reflection of an
adapted
for
instinct satisfied.
And
who
identi-
The wages
at
set to other
employments
the
in
steady and
full
occu-
accomplish.
between
great
Low
CHAP.
prices, stimulating
the
public morality
symptom
it is
of disease.
7).
xii
219
This involves
but the physical needs of man.
the notion of Art as an activity, not as a mere
language and
than Ruskin at
;
The
the
arts
first
it
is
adopted.
beginnings of civilisation are seen in
of pottery,
work, and
based on a
first
dress,
smithy-
architecture,
so
to the
is
end.-
The
the point at
human
life
pass
and
decoration
there
is
2 2o
CHAP.
the law
is
not contradicted.
And
accustomed.
is
making the homes we live in lovely, and by staynot by competition, but by doing
ing in them
our quiet best in our own way
not by exhibut
is
what
bition,
by doing
right, and making
what is honest, whether it be exhibited or not,
;
xii
221
and, for the sum of all, men must paint and build
neither for pride nor for money, but for love ^for
love of their art, for love of their neighbour, and
for
on
these."
may
CHAPTER
XIII
ARCHITECTURE
1
02.
Laws
logical deduction,
the other
way
and
is
the
variable
track
results.
The
looks
of
first
human progress
way is not always
to
achieved
so safe as
sufficient
as
it
it
first
volume of The
Architecture
CHAP, xin
223
Stones of Venice and in the Lectures on Architectand Painting. So far as these contain error
',
ure
it fra.
mon
several
places.
The
historical
method he has
needs of
man by
the. first
accessible
materials
when
if
for
beauty.
particular,
Hence Art
is
to
nothing else
in
Art-Teaching of Ruskin
224
CHAP.
we
tions.
needs.
down
the law.
Com-
mon
And
its aesthetic
is
laws, because
103.
priori Development of
A rcJiitecture.
In
A rchitecture
XIII
225
vol.
Ethics.
unknown
models, has
much
so
226
CHAP.
artistic
faculties
by
all
the
workmen employed,
stability,
works
of
utility
rows
of
dwelling
houses,
Architecture
XIII
factories, bridges,
and so
on.
227
It
becomes Fine
a preponderating degree,
the elements of emotional interest, Beauty and
it
admits, in
"
"
and it is
fine
in proportion to
Imagination
the refinement of Beauty and Imagination displayed, not only in the architect's drawings but in
;
It
ment
seen,
is
i.),
60).
utilitarian require-
it
to be useful.
usefulness
End
from
nor need
itself
is
We
popularly confounded.
may consider Archias
a
mere
Constructive
tecture,
Art, a parallel to
engineering
or
we may
consider
it
as
Fine
Ruskin writes of
it
thereby dignify
buildings with the style and
title of Works of Art, nor all architects with that
of artists, except in the looser and lower meaning
all
of the term.
105.
Laws
Lamps attempts
of
Architecture.
to
the
The
Seven
laws of
give
principal
building considered as a Fine Art, irrespective of
adaptation to modern use and convenience. These
4).
one
Art-Teaching of Ruskin
228
employed
with
little
and the
CHAP.
other,
all
"
arts
and
including
"
a misdecorating useful objects
that
the
a
house
term,
object,
leading
suggesting
or a tool, is made first and decorated afterwards ;
employed
crafts,"
"
in
whereas, to be Fine Art, the object must be conceived from the beginning as useful and beautiful
same
at the
time.
Mr. Ruskin
or of
mate)
as, again,
cast or
machine-made work
and ought
an
to,
in
be hand-worked.
(3) Power, giving
and solemnity, which is done in
effect of size
with a
will,
it
;
or
it
is
Sham
A rchitecture
XIII
Art.
(6)
that
Memory
is,
229
it
should not be
"
posterity,
(7)
that true vitality or originality does not consist in
past.
creating a
new
style, for
no quite new
style
is
We
ciples,
102).
have here suggestions of a series of prinbeginning with the intellectual and moral
with
common
Truth and
issue
in
Ideas of
differences
style
Ideas of Beauty
The
but,
by arcades or varied
230
Art-Teaching of Ruskin
CHAP.
mean between
the
light
and
Gothic, which gets dark spaces by foliations
that of Greek, which makes its columns tell in
;
lines of light
is
in
the source
in
treated in
V, (vol.
those upon
i.
Architecture
xni
some
231
interest, as
Sculpture.
too much engaged in preaching Gothicism against
the world to pay much attention to real Greek
Art
and though he expressly states that his
animadversions on classicism are directed against
Renaissance and modern imitation of classic
;
shown
The
usual
is
in the originals.
"
"
orders
of
Classic
Architecture
into
bard
Romanesque, Byzantine, Norman, and Lomand the other Corinthian, the parent of Gothic
;
i.
chap.
i.
To
7).
these a third
may be
i.
chap, xxvii.)
makes
for
it is
different races
i.
culture
in construction,
in Greece, pure
in Roman hands, rich
Renaissance, effeminate.
Next, Romanesque,
round
the
not
arch,
thoroughly
developed
using
until Christian times
then differentiating into
sublime
in
Art-Teaching of Ruskin
232
CHAP.
than
It
must
suffice
The Seven
digested in the student's notebooks.
and
the
second
of Stones
and
third
volumes
Lamps,
of Venice, Mornings in Florence, and St. Mark's
Rest describe the rise, greatness, and decay of the
various Christian styles, especially French Gothic,
A rchitecture
XIII
which he rates at
its
233
Renaissance of Venice,
all,
but
most
the
In all these
07. Proportion and Decoration.
are
there
two
artistic
elements
styles
proportion
It has been the habit of
and ornamentation.
1
to
architectural
it does not
aged, proportion has little influence
or
inform
the
comfort, amuse,
spectator ; whereas
;
234
CHAP.
103-109).
This power
Venice are delicately and exquisitely varied in prono Architecture can be great without it
portion
but it gives no title of itself to greatness. Even in
the arrangement of the masses of light and dark,
obtained by arcades, colonnades, foliations, and so
;
on, something
lines
is
position, at once demand the exercise of imaginative power which no rules can teach.
1 08.
The fallacy that
Sculptured Ornament.
a building, or any other object, can be designed in
one frame of mind, and then decorated with superadded, detachable ornament in another mood, or
by another
contempt
Great Art
person,
in
is-
which decoration
is
held.
But no
on the construction, he is a
a useful man, no doubt,
builder and not an artist
leans
all
his force
And
Art
Architecture
xiii
hand
in
235
the
workman
Economy of Art.
is
an
For
it
means
that
i.
gone so
far as to
is
the art
ornament.
Architecture
236
CHAP.
The
it is
no
less
should
attention
it
have
125)
that
would
treat
is, it
iv.
effect
its
should be treated
it,
and adorn the constructive features of Archian idea whose source we have traced
already (
100) to the beginnings of Art and
Civilisation.
But Architecture worthy of the name
hibit
tecture,
arises
first
it becomes
is
Like
which
complicated.
painting,
greatest on
the imminent, deadly verge of decadence, it culminates when rude and primitive simplicity has
given place to more ambitious and varied detail,
which became ultimately regarded as separable,
and the decorator grew to be another person from
the builder. Thus we get two extreme views
one
that all ornament is developed construction, and
the other that it has nothing to do with construction.
Mr. Ruskin takes the historian's position,
and shows that, as a matter of fact, in some of
the finest architecture ever created, the ornament is
Architecture
XIII
237
A.
V. cPA.,
P.,
24, and elsewhere).
This marble casing has another
office
145
it is
Fresco painting
freely, outside
as well as inside
"
suggested by the lamp of memory," but
difficult to
it is
so
supremely
be considered among
Mosaic and marble casing come more within
tion.
chap.
patterns
We
study of Architecture
is
we
Nature
and
is
238
CHAP.
structure.
ing should
columns striped
vertically,
dif-
nor
And
complicating the forms (S. .L. A., chap, iv.)
the safest and best method of colouring is that
obtained in the use of variegated material, which
is
early Italians.
But if the colour
And
with
colourless
A rchitecture
XIII
239
graph
Architecture
"
terminal lines
of
flat
considerable
surface
size,
exhibited by simple
breadth
face
varied and visible masonry ; vigorous depth
of shadow, exhibited especially by pierced traceries
varied proportion in ascent ; lateral symmetry
;
inferior
Florence.
CHAPTER XIV
DECORATION
"
Art.
The
architect
"
considered as building
in making
a window may surmount it with nothing but
plain stone, or he may add mouldings for the
artist
may whitewash
or cover
it
These are
73).
all stages
All fixed Art
Art
in
highest.
There
is
no necessary
inferiority in
it
Decoration
CHAP, xiv
241
the
skill,
beauty, and
use.
112. Arts
and
a doctrine which,
first
to
is
teach,
accepted.
be
Crafts.
I
wandering
from
portrait -painters,
their
Art-Teaching of Ruskin
242
CHAP.
and
it
will
But
crafts
all
Art
emotional
Art
And
Graphic Art is essentially athletic.
is a difference between the higher forms
so there
whether by purpose
Art there are certain
excellences, peculiar to it alone, arising from the
An Art
very limitations which narrow its range.
cause their scope
or
by material
is
limited,
for in every
base unless
is
of
its
may
be
subordinated
to
two
great
heads
When
Decoration
XIV
243
it
(A. P.,
colours
down
it
When
152).
it
to miniature
may
produces fresco
use
tiles
and then
may work
But
stone,
it is
It
in
fabrics.
But each
The beauty
work.
iv.
definition
a crisp edge
Art-Teaching of Ruskin
244
CHAP.
it
their
And when we
(T. P., Preface).
that architectural and sculptural excel-
own hands
remember
hand
in
in
hand,
building
39),
we must
until
the
and the
philosophers kings.
Inferior stones, such as sandstone or chalk,
admit deep cutting and picturesque chiaroscuro,
but not the refined surface and edge (A. P.,
158).
Cast-metal, on the other hand, does not allow of
detail.
flesh,
it
though Stamping
is
is
to Sculpture
157).
what Engraving
Decoration
xiv
Most of these
technical
245
conditions
are
well
writing
made
lovely
picture-making
.
To make
it
the
has lost
and
because
who
it
it
passes into
dignity and
moment
its
is
function.
make
you to note
happens continually that young
I
the
particularly wish
this,
girls
steadiness,
Art-Teaching of Ruskin
246
CHAP.
Ruskin
Mr.
has
Paths.
The sum
of the doctrine
is,
that as
it
is
161).
The
variations in
P.,
Appendix
5).
Sir
Appendix
2).
These
114. Conventional Design : its Reasons.
technical notes are given here, not by any means
as a resumt of the subject, but as indications of
"
straws to
the current of our author's teaching
learn that in
show how the wind blows."
We
Decoration
xiv
247
78), and
owing to conditions of material (7! P.,
these conditions must be always kept in view, or
there results a foolish manner of decoration parallel
decorator
is
may
to regard
limit his
architect
must do so
its
A capital
capacity.
or a cornice,
work
its
if
or
he
representative
must be a
or a cornice
capital
leaves, frittered
whose
And
(stone)
in de-
Sculpture to be highly
so as to be visible only from a ladder.
Architectural
is
to be subordinate to
"
finished,"
When
it
as
vitality of all
Art-Teaching of Ruskin
248
CHAP.
is
be
chanical
genius.
facilities for
men who
did the
The
115. Conventional Design : its Fallacies.
notion that the best Decoration is the product of
incomplete, and therefore inadequate, Art, has led
to the fallacy that its artistic inadequacy is its
virtue ; that, whereas in picture-making and architecture grand proportion and intricate composition
are virtues, in decoration mere symmetry is the
Decoration
XIV
249
its
erroneous
position
by the
necessities
of
We
restoration.
we
are in a
respect.
The
way
fallacies
of conventionalisation are
250
does
its
best with
that, in
its
own
CHAP.
material,
is
Lect
6.
i.)
Naturalism
in
Ornament.
Abstract form
T. /*.,
But the billet and zigzag of Norman
76).
Architecture are not the whole of its ornament,
which
rises
in
spirals
in its
(L. A.,
vol.
i.
is
composed of
figures
its
natural
all
is
ages
the best in
The
beauty.
that which is
its
kind shows
To take
the best figure -sculpture or drawing.
an instance from a style which Mr. Ruskin does
not hold up to admiration, Raphael's arabesques
are better than others of the sort because he was
a draughtsman of the figure, and based his patterns
Decoration
XIV
on the
251
figure.
82
(T. P.,
So we have a
and dignity
increasing in value
whose
are
and
and
human
beasts, to
the
chap, xx.)
117. Abstraction.
fruit
But
figure (S.
this
V. y
vol.
i.
advocacy of Natur-
in
mind the
from
that
which
tries
to
limitations of his
office
is
of his work.
entirely different
all its
Art-Teaching of Ruskin
252
detail,
and colour
texture,
transfer such of
and purpose
its
will
the
qualities to the
permit
CHAP, xiv
problem
work
is
to
as material
first,
that
The
example,
may
imitative
true conventionalisation.
CHAPTER XV
DESIGN
"
Much that I
The Necessity of Design.
have endeavoured to teach," says Mr. Ruskin
1
(L. A.,
66), "has been gravely misunderstood
both
by
young painters and sculptors, especially
Because I am always urging them
the
latter.
by
1 1 8.
masses
is
so
to the
;
of
rest, owing to the disposition
and the curvature and surface-modelling
managed
life is
given without
"
The
great Art, whether decorative or pictorial.
noblest Art is the exact unison of the abstract
254
value,
colours
it
is
the
noblest
CHAP.
"
(S.
Fl, vol.
ii.
chap.
is
vi.
hardly
work
is
are missed.
It
any
Organised Form.
All noble
design, in
or painting
not that imita-
of Organic
Form
but
artistic
composition
is
an analogy of natural
learnt
is
more
beautiful,
is
by
The
greater
XV
255
Design
M.
P., vol.
iv.
act best
other
upon the
such
softly inlaid
or, in
unison with
for
armour,
covering."
simplest arrangement is the globe, as a drop
of water the aggregate of several globes cluster-
The
By experiment we
find
some combinations
that
in
when
it is
set upright,
because
256
CHAP.
"
our
far
con-
stellar shapes,
circle
we have
by increasing the
feel
there
which
ious
you as being under some harmonThree principles only you will find
satisfies
law.
certain
"
is
by means of
differences in
when
magnitude
(or
duced).
"
C.
balance, or
'
equity,'
is
the constellations,
XV
257
Design
is
Science, see
which alone
its
it
it
phenomena,
according to kind.
beauty.
121.
In order to
Imaginative Grouping.
express this sense of law and order, the imagination arranges the materials of Art into still more
and formalise the whole merely by way of insisting on the fact of the almost uniform relations of
the stars.
The Greek kymation was an abstract
;
258
or
memorandum
CHAP.
breakers
all
it
We
in its sincerity, is
before
it
not Art
is not
copying
Art why Art deals with Beauty, and needs the
work of the imagination. For Beauty is the
visible law, and the Imagination is that power of
the human soul which perceives it
Design is the
work of the Imagination, arranging things accordand so creating beauty.
ing to law perceived
And we see why the ornament composed of mere
abstract lines is lower in class than that which
for the first gives fewer and less
represents life
is
why
deceptive imitation
XV
259
Design
We
122. Invention.
new and
get also a
fuller
or group
function,
and
associated in origin or
phenomena
loss
and
arrangement must have influence over everything
that the Art is concerned with, great or small
Given a
over lines, over colours, and over ideas.
so
ruin,
in
artistic
design
selection
'
'
from them
him with
much
as
so called,
delight
And
as possible.
is
human
iii.)
influence.
is
Invention, because
which has a
life
of
little effort
invention, consulting
43).
capacity "(r. P.,
This power of design
part
and with as
its
called
it
(M.
human
P., vol. v.
creates something
own, and a
vital
is
power and
merely a
260
noise
Art-Teaching of Ruskin
a
tune
is
something
men
emotions, until
will
CHAP.
which
live or die
stirs
for
it.
the
In
musical
is that which
composition, arrangement, or design
to
Art.
So
that
it
matters
not at
gives vitality
all
sented, so
The best
vital
pre-
power.
unless
design, which
living
work
the
making of external
objects into
subjects of Art.
The expression
123. Three Stages of Design.
of the sense of law and order may be traced in
in
and small
first
for
obvious
symmetry and
dependence.
To
begin thus
XV
261
Design
and
gravity, and energy of springing lines
all the other natural laws which condition action
and passion, circumstance, colour, and so on.
This in history is abstract Art to begin with,
when the development is proceeding normally and
it becomes in time complete Naturalism,
healthily
life
the
first
unity.
while,
And
that
it
is
not Reason.
To
apply Rules
is
the
reasoning.
are snares
Therefore
all
Art.
The laws
of the
Art-Teaching of Ruskin
262
Two
CHAP.
given in The
is
84-86).
and
figure
sporting
result
in
neckerchief."
of a
the design
On
which
the
"
choice
author
any inserted
What
of parts
is
hopeless,
"
If designing could be
taught,
all
the world
is
of a
xv
263
Design
That
from the
and
artificial, genius and ingenuity, art and artifice,
And there could be no
artisan.
artist and
greater error than that into which some of Mr.
Ruskin's disciples have occasionally fallen of using
the Laws of Design, as analysed by him in The
Elements of Draiving, for Rules by which they
were to concoct pictures which should satisfy
their misunderstood master.
duction.
125.
however,
artistic
contains
them
is
it
taught her
of
the art
way
literary composition
of putting together a story, in which she was
more than most of our time proficient ; and it is
(I
forget in
much
in the
curious, as a
title
in the preface(E.D.)
Art-Teaching of Ruskin
264
CHAP.
The Art
in
caricatured and
is
of England
(p.
"
(3)
220)
its
criti-
the
stagnant
as in succession of pillars or
(4)
bounded by
All
beautiful
infinite curves
that
is
objects are
to say, lines
number of subordinate
curves.
principal
objects, as
already shown
in
Turner's
Coblentz.
lines
which
"
tell
in
some modern
in exhibitions,"
is
pictures
as
in
heraldic
quartering.
XV
265
Design
worked.
(8)
Breadth
overriding petty
it.
It is especially
character-
its
best
abstracted.
and
it
The tone
cannot be rendered
therefore all the tones in a
picture must be treated so as to get a gradual
series from high light to deep shadow.
In Land;
relative
general effect
and
it
is
best to
deepen the
tints
masses
of dark
may
be
266
CHAP.
the defect of Gaspar Poussin and the older landBut this treatment of tones is at the
scapists.
tone
the
is
To
secret
have now
"
all
which
XV
Design
267
make your
and every increase of noble enthusiasm in your living spirit will be measured by
the reflection of its light upon the works of your
make your
actions wise
hands."
CHAPTER
XVI
SCULPTURE
and
strictly decorative,
tions
we can
consider separately
starting from
"
employed
The Imagination
(A. P.,
26).
It ranks,
angelo said (M. P., vol. ii. p. 178).
with Painting, as the highest of the Fine Arts, in
virtue of its expressional power, and of its demands
CHAP, xvi
269
Sculpture
artist
Plastic
Next to the
important branch of human skill.
potter's work you have all the arts in porcelain,
glass" (exclusive of stained-glass windows), "enamel,
and metal everything, that is to say, playful and
familiar in design, much of what is most felicitously
inventive, and, in bronze or gold, most precious
and
permanent.
'
'
'
themselves" (A.
P.,
153, 154).
the foregoing general principles of Art it
is to be assumed that we accept these four general
laws of Sculpture (A. P.,
15 5)
"
(i) That the work is to be with tools of men.
From
"
(2)
That
it is
to be in natural materials.
Art-Teaching of Ruskin
270
"
That it is
materials, &nd aim
(3)
CHAP.
them.
"
(4)
That
its
temper
is
common
in
harmony with
to
common intelligence."
The virtues of clay and
to be quiet
and
needs, and
in
gentle,
consent
like
some
exquisitely graceful
species
of frog"
(M.
had the stone
enabled them to become sculptors because it is
the most perfect material for the most perfect work
;
in this kind,
ideal flesh
transparent, lending itself to broad undulating surface and crisp edge, and improving rather than deteIt is not only a fine material for
riorating with age.
for
but
also
building; and the hewn blocks
Sculpture
xvi
271
Sculpture
127. Incision.
is,
a low relief
is
Egyptians.
play of surface, but simply as a table-land above
a plain.
And as there is no surface to be confused by colour, colour may be legitimately applied
to this rudimentary bas-relief (A. P.,
i
59-163).
for
surface
not
is
all
without Incision
is
272
CHAP.
The
may
less
upon
it.
"table -land"
have
for the
relief,
third stage,
is
made
created
in Sculpture
whose con-
(A. P.,
20).
of the sculptor
and the
line
The
special skill
and knowledge
is
form
solid
dimensions (A. P.
it
limits,
in
always
three
The
15).
design required in
that
of
Sculpture
disposition of masses, that is,
not flat but modelled spaces
beautiful surfaces
bounded by beautiful lines. And when this is
y
is
well
done
it is
known
at
distance, even
any
when
roundness.
In
Nature
this
is
seen
in
the
leaves, the
rounding of
fruits
fall
of the
and especially
human
in
limbs, in
XVI
273
Sculpture
which there
is
The beginner
flatness.
stance, can
his strap
"
the beauty of modulation, the
magnificent
"
But this is the peculiar
come-and-go of surface.
of
meaning
same time the minimum of depth is
and it was
the problem of bas-relief proper
achieved most completely by the delicate art of
and
at the
the Florentines,
who
Madonna and
skill,
to
work.
Suppose that
depth fixed
274
or scale
would be
Art-Teaching of Ruskin
of depth, the diminution
in regular
CHAP.
from Nature
as, for
proportion
instance,
the real depth of your subject be, suppose, a
foot, and the depth of your bas-relief an inch,
;
if
his relief into the breast of the off horse, while for
make
it
bolder
"
1 69, 1
(A. P.,
70).
bas-relief
are of
involved
questions
by
a more curious and amusing kind (than in solid
statuary), requiring great variety of expedients,
"The
xvi
275
Sculpture
and
beneath,
shadow
so
increase
to
any degree
Ruskin's paragraph on undercutting is so much
more lucid and terse than anything I could write,
that the reader will be glad to have it in his own
words, which perhaps may encourage him to refer
with added interest to the fine course of lectures
an absolute darkness
may
The Lombardi
cately, in
and edges
276
CHAP.
of faultless precision ; but the base Indian craftsmen undercut only that people may wonder how
the chiselling was done through the holes, or that
they may see every monster white against black.
"Yet here again we are met by another necessity
for
discrimination.
incisions
cceteris
The conception of
131. Kinds of Relief.
Architectural Relief-Sculpture involves two things
the protection of the ornament from weather
and transverse blows, and the preservation of the
constructive strength of the piece of wall so ornamented.
To get the first result every relief,
whether flat or round, must be within its panelframe, and not rising above the level of the
To get the second result,
exterior moulding.
wherever the wall space so ornamented must bear
great weight or otherwise offer strong resistance,
the relief must be low to avoid weakening the
but
stone by cutting too much away
where so much strength is not needed
;
in
places
(as in the
(This is
pediment) the relief' may be deeper.
often a merely apparent relation to the actual
construction, but the effect on the eye and the
mind
is
And it may
the subject of artistic law.
this law explains the discomfort we
be added that
feel
when
figures in the
it,
XVI
277
Sculpture
There are therefore four kinds of
relief,
dis-
are
coins
and
if
every
portion
none undercut, as
of
in
the
Greek
seals.
if any part of
(3) Edged or Foliate Relief
the edges be undercut, but the general projection
of solid form reduced
the parts of the design
if
unreduced
in retreating depth
connected
with
some definite part
yet
locally
of the building so as to be still dependent on the
shadow of its background and direction of protect-
of
it,
This
full
175, 176).
relief
alto-relievo
is
the
manner
position.
two
132. Statuary,
varieties
the
Of
Classic
the
first
its
though not a
bas-relief, akin
to one
and the
278
other from
backed
"
in origin
CHAP.
the "hog-
Of this
kind, in
its
studied.
He
has described
it
with
admiration
more than once (M. P., vol. ii. p. 68, and 1883
Epilogue, and again in The Three Colours of
There is a
Pre-Raphaelitism, Old Road,
249).
plaster cast of
it
in the
Of
the
free
statue, properly
so
called,
Mr.
V., vol.
iii.
when he gave
In former times,
chap. i.
22).
in to the general admiration of
he wrote fine passages on the
Michelangelo,
Bacchus, the Pietas of
He
criticised
higher
p.
69).
XVI
279
Sculpture
"
Considerations of weight in
balance, of perspective
and opposition
mass, of
in project-
on
all
sides of
172).
being itself arduous enough" (A. P.,
As a substitute
133. The Vices of Sculpture.
present
and therefore to
re-
Art-Teaching of Ruskin
280
nests,
or
any kind of
realistic
detail,
CHAP.
is
to
re-
p.
200).
And
and
Painting,
if
their
sculpture
is
explained
by
Mr.
(M.
P., vol.
ii.
p.
195).
XVI
281
Sculpture
134.
ture
is
These
incision.
qualities cannot
be had except
human
feeling displayed in
that
results
execution
is
it.
an
important
element in this as in all other work handling in
marble is as great as in oil-painting (L. A. P.,
40). The strong execution of Michelangelo, which
;
makes
his
work
living
he could
power
is
most evident
his
The modern
the workmanship than the design.
of
the
work
in
system
modelling
clay, getting it
form by machinery and by the hands of
subordinates, and touching it at last, if, indeed,
into
The second
is
that
neither
he nor the
public
282
CHAP.
If draped, the
drapery must be simple and severe, and any ornament strictly subordinated to the intent and
"
The proper subject of
character of the figure.
Sculpture is the spiritual power seen in trie form
I hope, in
misrepresenting the author's teaching,
us read the conclusion of his fourth lecture.
case
"
Ultimately,
will
rest
that
Fine
didactic
in
their
manner
Imaginative Arts
Sculpture
history,
are
that
is
to teach
and lovely
to say, the
what
is
noble in past
human and
in existing
and
Drama and
organic
life.
"
(4)
And
manner of execution
xvi
283
Sculpture
these
Arts,
is
"
(5) And the test of utmost fineness in execution in these Arts is that they make themselves
CHAPTER
XVII
ENGRAVING
The incised contour-line
135. The Definition.
of rudimentary Sculpture is the origin also of
Engraving and Drawing. The thin furrow that
emphasised the masses of barbaric bas-relief could
be imitated on the early Greek vase, while the
or on the
clay was wet, with the stylus-point
;
silver-point of
As the sculptor used his chisel for a
the scribe.
pen, so the draughtsman used his pen for a chisel
was no difference in the original conceptwo Arts they only gradually differAnd so we get an Art midway between
entiated.
Sculpture and Painting, which glides into both
Like Sculpture it begins with
on its borderlands.
contour, and gradually adds surface -model ling
there
tion of the
like
Painting
and, in some
of the depth of local colour in diminishing light.
But this Art is broadly divided into Engraving
and Drawing
some
interest,
have been
and the
now
invented
distinction
that
is
a question of
means of reproduction
to
CHAP, xvii
285
Engraving
We have already
confuse or even identify the two.
admitted that an Art, to be at its best, must
it must accept
express the virtues of its material,
technical conditions, and by human skill and
human hand-work make the best of them.
It is commonly thought that the essence of
Engraving
is
power of reproduction by
in its
print-
only an accident.
Lithography
is not Engraving
but the carving of seals is,
though no black and white print is taken from them
ing,
but that
is
(A. J7.,
9)
is
no
two Arts
technical
confuse
will
therefore
conditions differ
them
is
an
error,
differ
as
their
286
CHAP.
The
processes or the best possible engravers.
precise qualities which drawing can give, in which
the drawing is especially beautiful and valuable,
any sort of engraving. The precise
which make engraving right and interesting are those which are not wanted in drawing.
This must be clearly understood by the student
and the critic as the fundamental condition of all
the better the
appreciation of black and white
drawing, the more hopeless it is to get it engraved
are alien to
qualities
except
cannot be reproduced
:
the
tone, of quality
and
artistic qualities
and
As
as
engraving, a plate may be miraculous
reproduction, monstrous, because the "lie that is
half a truth is ever the worst of lies."
No artist
;
xvn
287
Engraving
fortiori, since
it
an invention.
136. Line.
is,
The
relation
of Nature to Art
material
Outline
is
an abstraction
it
luminous body
the hair on an arm, or the outer
mist on a cloud
this is not true outline, but
The true outline is in Nature a
modelling.
the locus of a point impalpable,
geometrical line
but usually quite definite
not an object, but a
"
situation
not even a line, but
Infinitely subtle
the place of a line, and that, also, made soft by
;
texture.
In the finest
painting
it
is
therefore
288
slightly softened
draw
it
(L. A.,
CHAP.
130).
it
is
called a line
in
"
Art
Always
Nature as a
edge of a
tion
of forms
shadows or
it
their distances
pure outline
is
"
therefore
viii.
the preparation
7).
for
their treatment.
it
in itself it
tive
may
work and
be beautifully used, as
in
it is
like that
imitation
pleasure
of an intellectual nature
glass -painting.
is
in decora-
The
But
for this
XVII
289
Engraving
reason
it is not
cannot be a popular thing
and very slightly representative, and
the first test of high artistic feeling, and
power that the young student or amateur
it
sensational,
yet it is
the last
can hope to
attain.
Whenever
it is
found
in per-
it
is in
by filaments or threads,
and woven or reticulated
as in
tissues.
vast quan-
nous
lines.
properly
so
called,
sculpture, metalwork,
for great part of the effect, for the mystery, softness, and clearness of their colours or shades, on
The
by lines or threads.
most countries is linear, conof interwoven, or richly spiral, and otherwise
earliest
sisting
Art
in
135-137).
When
lines
no longer
2 QO
CHAP.
standing
texture
for
fibres
third,
abstract,
as
The
as such.
is
line
is
actual,
and
and radiated,
to
surface
and
arranged
express
solidity, following
the shape of the object.
The line used for shadis
ing
straight,
tone
it
from
different
is
their
it is
"
"
attaining infinity
(i.e.
Almost
all
approximating
M. P.,
vol. iv.
to,
but
chap, xvii.)
these lines are expressive of action
291
Engraving
XVII
particles of
by the
water
in
be considered instead of
in space
the wind,
under
by
its
objects
relation to
its
the planet
or in the
sails
in
and
force,
or
moving
bearing
force.
of limitation or support
that
is
Circular
think, curves
to say, curves of
I
The
perfect
xx.
rest.
20).
From another
curve
attaining
will
and
move
it
in
instinct
for
curvature, tend
to
violence of
292
CHAP.
ment
and
"
though always
He
ceived.
existing,
dwells on
all
is
of
and grace
life
This
illustrated
is
earlier
"
(S.
in
"
curlie-
is
delivery
293
Engraving
XVII
possible
ever.
such design is a scratch or a hole ; and scratchable solids being essentially three
stone, wood,
we shall have three great schools of enmetal
graving to investigate in each material
"
(A. F.,
34)-
still
puzzling the
294
Engraving on metal
CHAP.
from pen-drawing
and
fineness
a perfect
greater precision
on
a
which
offers
perfect surface,
point
greater
An enormous
possibilities and greater difficulties.
amount of labour is given to the hatching and
and the technical
stippling of finished plates
in
differs
its
The
Engraving makes
and not
make
his
such treatment as
will
full
value
Botticelli's
examples at
designs
In these there is
Botticelli's time.
any
little
rate
of
attempt
work, with
No
this
its
mechanical methods.
realisation,
work.
It is
no chiaroscuro
purely
artistic.
is
The
possible to
introduction
xvn
Engraving
of alien ambitions
is
295
the ruin of
this,
as of
any
impossible to
engrave good colour-painting, and the designer's
intention must be altered to suit it to the requireSo that the modern school
ments of the public.
iv.)
It
is
for the
much
pale tinting
as
finished
small
plates
for
book
illustration
(3)
and shade
by painters
selves to
honoured, and
ix.)
Art-Teaching of Ruskin
296
CHAP.
manners
is
The
cuts
by the
Pentelici
Wood,
pencil of the draughtsman on wood, which generally leaves greater and more servile labour to the
On
space.
black
flesh
lines,
;
is
The sensational
does not leave a black space.
and violent contrasts of black and white in cheap
Engraving
XVII
297
tion.
is
And
Art.
The hatching
popular
taste,
abstract,
Aglaia, chap,
"
passionate
is
entirely
(Cestus of
ix.)
141. Etching.
and
Fine woodcutting
thoughtful, and
Art-Teaching of Ruskin
298
CHAP.
and
a beginner.
treatment and
for ideals of
And as it is
expression without fail or error.
innate in the artistic beginner to scribble rather
than to draw, and to look for strength of gradarather than for values, these works tend to
tion
and
his perceptions
made
delicate
by
severer models.
The
of etching, which
"
text supplied
it.
Secondly
and
general principle (I
torial
this is a
must
let
still
more important
myself
let
fall
into dicta-
your few
lines
XVII
299
Engraving
be sternly
clear,
however
however dark.
play, and a true
delicate, or
child's
is
fail,
"
mind,
may
you
try
something
more
difficult
afterwards."
In
hitherto
editions)
or
it
may
(early
line, like
his
mate manner.
However
advice
may seem,
of our good modern masters of the
lightest
it
and most
linear
work
is
craft,
whose
and
their best
300
Art-Teaching of Ruskin
greatest.
It
is
CHAP.
is
of expreskinds
hitherto
considered,
by Engraving,
Neither woodcutting nor etching, in
the line.
142. Mezzotint.
in the
sion
is
badly done
mezzotint
shade in
all
Much
of the
work
be perfectly done
etching may
gradation and modelling, light and
its strength and variety, tone with
in
subtleties,
fully in the
however, tends to heaviness and a want of brilliancy and to obviate this Turner used to scratch
;
breadth and repose of his drawing, as in the Portsmouth of that series, where the lower part of the
is completely spoiled by this unworthy
But when the
concession to popular requirement.
picture
etched line
is
XVII
Engraving
301
Our
incision
coming
code of laws
justice of his
condem-
In certain instances he
may
err,
as
by an over-severe
302
And
in
this
CHAP,
xvn
CHAPTER
XVIII
DRAWING
In opening the whole discussion of
143. Light.
the laws of Beauty (M. P., vol. ii. chap, v.) Mr.
Ruskin mentioned as the earliest and strongest impression received from landscape nature, that of
the sky, relieved in light against a dark near foreIt is not the
ground, which cuts off the horizon.
intensity of light, nor the forms of mountain or
"
but there is one
cloud, that produces that effect,
artistic
that there
is
expression of Infinity in
in tones gradation.
So
And it is
great measure, the value of both.
be
raw
observed that even
and valuegenerally to
in
will
in
Art-Teaching of Ruskin
304
measure
unsatisfactory
if
entirely
CHAP.
unvaried.
(M.
P., vol.
ii.
p. 46).
twenty-five years later he was still teaching the same doctrine in the first Oxford lectures,
"
showing how entirely effects of light depend on
Some
mezzotint from his drawing of a globe, so delicately gradated that it seems to stand from the
page as a thing of light and that without any
violent contrast of background, which here is a
;
tender gray.
light,
face,
The
gist
of his doctrine
is,
that
whether of the sky, or of any reflecting suris shown in Nature and represented in Art
Drawing
XVIII
305
"
9).
And now we
its
shadow
find
"
(L. F. chap,
the use of having
t
He is supreme in all
for our guide.
and
in his 28th chapter
of
execution;
questions
you will find that shadows are to be dolce e
Leonardo
164).
by gradation" (L. A.,
Mr. Ruskin has never been supposed to be an
but drawings
advocate of " Breadth at any price"
;
nor the
is
lost
it
or the relation of
its
values to the
is lost.
in tone,
much more
Nature's abso-
Art-Teaching of Ruskin
306
CHAP.
material or
The methods
of production in
Drawing are
three
These can
all
lines or to
make
be used
tints.
for
The
the right
be demanded as a separate
in itself, is doubtful.
attained
The
end, perfectly
best artists have not left any perfect outlines
this preliminary is to
is
an outline as possible.
In The Elements of Drawhe
waives
this
requirement, but insists upon it
ing
in The Laws of Fesole (Cestus of Aglaia, chap. i.
E. D., Preface L. F., chap. ii.
I, 3).
;
The
first
is,
therefore, to
draw
xvni
Drawing
307
lines
the student
in
is
his
Of
and
task,
n.
4).
The second
146. Transparency and Value.
is
to
and
here Mr.
instruments
use of these
shade,
Ruskin's teaching differs widely from that usually
given, and his more recent teaching differs con-
Not only
to produce this quality at all hazards.
surface
is the hatched
decoratively beautiful, but
truly suggestive of transparency,
parency is usually a quality of shade.
it
is
and
trans-
Therefore
To
this
several
objections,
308
mentioned
Art-Teaching of Raskin
in
many
In the
CHAP.
teaching.
"
uncontributive
first
toil
is
by accurate
outlining,
is more rapidly
developed by making
a drawing every day than by making only one in
three months.
observation
tion
L. A.,
for
164).
This
present Slade Professor at London began to revolutionise the practice of drawing- schools, and
long before the recent attempts at open-air fleshpainting taught the public that a figure need not
be half white and half black.
xvin
309
Drawing
very
is
as it is
to produce in real beauty
of
fact the
as
a
matter
masters
and
great
difficult
done by
sketches
done with
is
parallel
lines,
producing
parency, far
"
It requires the
and
He
on methods of producing them.
he
them
as
to
be
allowed
even
likes,
produce
may
the thing required of him being
or as he can
only that the shade be of the right darkness, of
all
arrested
are that
it
shall
esquely effective
that
the
And
student remains,
the consequence
when he becomes
CHAP.
brush, laid
this
tint is transparent
when
it
is
laid-in wet,
and not
34).
The
method
result of this
To
same plan of
commended
"
an exquisitely
and transparent
is
delicate
for colour
drawing.
This is only the water-colour way of that matching with tJie palette knife, which is now taught to
students of oil-painting in England and France
but Ruskin began the practice fifty years ago with
his
cyanometer, or gradated
slip
of blue paper,
is
the
Drawing
XVIII
demi-teint
to
gMral,
311
mon
practice, and
as a result of the
fell
believe,
The Hardingesque
all
drawing
classes.
Out-of-doors sketching
is
quite
312
CHAP.
but
subjects offer no difficulties in this manner
figures, in the ordinary course of study from the
;
The aim
nude, are not suited to pen and wash.
of the student in figure-drawing is to learn the
outline
the Point
figures
therefore
is
seen
are
Drawing.
With
148. The Three Kinds of Chiaroscuro.
the pen and wash, or mezzotint method, three
kinds of light and shade can be expressed, the
first two
of which are called by Mr. Ruskin
Formal and Aerial chiaroscuro. To the third he
gives no name, but plainly indicates that he means
The
or tone
first
;
it
considers
a plaster cast
its
subject as colourless
and makes
all lights
as
equally bright,
"The method
whatever their colour in Nature.
of study which refuses local colour, partly by
the apparent dignity and science of it,- and partly
by the feverish brilliancy of effect induced in
Engraving by leaving all the lights white, became the preferred method of the schools of the
Drawing
XVIII
and it was
Renaissance, headed by Leonardo
both familiarised and perpetuated by the engravIt has been
ings of DUrer and Marcantonio.
;
extremely mischievous
in
this
supremacy.
34).
The
We
colour in study.
is
colour, so
Geranium
in L. F.
of the method
is
The abuse
163).
carried into painting.
and L. A.,
when
it
is
chiar-
oscuro
is
Nature
(L. A.,
167, 168).
314
CHAP.
is
to the
it
is
first
account of cross
lights,
reflections
assumed the
window
light to
or the sun.
impression of the
be followed
facts,
The
first,
two
methods may
downwards from
distinct
to shade
making everything darker in due prothe scale of our power being ended,
The
the mass of the picture is lost in shade.
second, to assume the points of extreme darkness
the lights,
portion, until,
is
that adopted
for
by the best
a coloured picture.
colourists in preparing
The relative virtues of
it is
he adopts.
The
is
third
method
is
which
that in which
Drawing
XVIII
more
you
315
which
is
regard
to guide
local
the
imitated
And
the last
value.
We
it
is
have seen
in
Nature which
which can be told
can be told
in lines, or those
chiaroscuro
drawing there
is
chooses, not
by the
critic's
ideals of excellence.
CHAP.
The
his
Painters
ideal,
but
may
chiefly
They
interested
in
colour.
but most
They
are
greater
excellences,
and have
men have
a definite
more or
less of other
it
may
in
them.
The
of savage
The
life
third step
is
space of shade or colour becomes a gradated and modelled mass, expressive of surface
the
flat
and roundness.
And
of.
of
(2)
line,
is
hardly so
much
colour
and (3)
Gothic glass and decorative painting, in which
is
filled
with
flat,
or
Drawing
XVIII
317
represented by Leonardo,
who aim
at chiaroscuro,
137-139). Each
not by folcan
a
one
student
become a
style
lowing any
his
out
own
but
master,
by finding
preferences and
its
(L. A.,
virtues and
its
vices
abilities
The Schools
this,
outline," as Sir
The
was of this
on
the
or
and
dwells
musical
mathematical
class,
art of line-composition as its chief element.
For
a public accustomed to chiaroscuro and Realism
these primitive masters
they have little interest,
and the contemporaries of Botticelli, because what
they give is not what is commonly wanted nowadays, but what they give is a more purely artistic
Men like
ideal than that which we find popular.
some of our so-called decorators, who find themselves revolting from the hybrid ideals and vacillating aims of their contemporaries to a sympathy
with the clear perceptions and definite intentions
to do.
CHAP.
mannerists.
The
it.
In the
of Chiaroscuro.
150.
next stage, that of modelled masses (4) is the
Schools
and
offspring of (2),
The
(5) of (3).
Chiaroscurist
School
is
so
sunshine or candle-
in
Whenever the
Apollodorus.
whenever
rides colour
colour,
and
all
the
work
which
we may
call
light.
By
colours
are altered
and though
or destroyed
more or
less
is
effect,
shutting off
light in
xvni
Drawing
319
In
lights with breadth of brown or black gloom.
a northern climate and in a poorly- lighted room
there is usually too little light to show the colour
of the shades
when
sunlight
is
in
in
gives
way
render
to
any attempt
it,
colour again
to chiaroscuro.
has been done by way of suggesting sunlighteffect, both in landscape and figure-painting, and
has been combined by some
sense of colour.
itself to
The Chiaroscuro
contrast with shade.
at
approximate value
for
such
are
the vase-
paintings
art
all
is
akin to Sculpture
the advantage of
its
distinctive conception.
"The way by
light
and
Art-Teaching of Ruskin
320
CHAP.
shade
can show.
also darkness
dawn
They
in the
look
sky
for
form
in
the
whose
it,
sure to belong
the artist
reasoning powers check and control that
is
instinctive faculty
ality
which
is
nature.
And, accepting the conditions of his
work, he may become one of the greatest, because
a perfect balance between the two sides of genius
is impossible, or hardly to be hoped for.
But he
will
to
its
XVIII
Drawing
321
all
these
CHAPTER XIX
PAINTING
and
if
he uses colour at
conditions
So
object.
ists
"
:
On
all,
in
CHAP. XIX
Painting
323
iv.
28).
chiaroscuro
uniting
all
and
Titian, Veronese,
and Tintoret
lost
its
great
colour-faculty in proportion as it
tide of decadence to infidelity and
The
is
324
"
CHAP.
"
not
sensual
;
colour to symbolise
its
Religion uses
and en-
spirit.
holiest mysteries
its precepts.
Nature always colours innocent
and kindly creatures, while the venomous animal and
force
257
vol.
iv.
320-326
pp.
and
left,
ii.
50-55
5.
p.
in
comparison, without
120,
etc.
vol.
and especially
vol.
iii.
p.
vol. v.
chap. iv.
27).
chaste colour,
there is intemperate colour and refined
and the
moral dignity of the colourists, as a body of indipp.
There
is
voluptuous
V.,
iii.
colour and
viduals,
in
some
The
is
instances
iii.
sensation and
a consequence of
which Colour is regarded as something more than
as an actual quality of real external
subjective
perception
as
it matters
This transition led our author
to a
whether by sound reasoning or not
things.
little
conclusion sound
as
XIX
325
Painting
is
tion of anything
greatest Realists,
"
If
study of colour
restated in the
"
at
Marl-
The
first
is
true, because, in
326
CHAP.
and must
in
some
The
more commonly
disputed.
fold statement.
The
is
A,
No
much
who
each
not
is
a colourist.
"
exaggerations
markings
and
that
is
misstatements
to say, to
of the
form-
bad drawing.
"
tleties,
XIX
327
Painting
may
it
itself
about
it.
If
right, its
own
Hence
it
must be
it
made
is
and
possible
justified
is
at once
To em-
by Colour.
and
painter (S.
153.
V., vol.
iii.
chap.
The Kinds of
scope to
all
the con-
is
iv.
Colour.
27).
These conditions
of Colour, in painting
especially, fall
brilliant Colour
kind he adopts
fact
that
their
absolute
hue and
tone
cannot
by themselves
more important to
(M.
Art-Teaching of Ruskin
328
CHAP.
chosen, and
good
may
may become
it
the
mere symptom of
But
manner.
made noble
in itself
by
right treatment
and har-
vii.
and see
The
5.
K,
vol.
chap. v.
30).
absolute brilliancy of many of Nature's
ii.
that of the
Venetians
according
to
xix
329
Painting
scale
the possibilities are infinite and as it is an arbitrary and conventional process, the right and
wrong of it cannot be determined by reference to
;
If
it
be
own
that
satisfies
one
More than
gray shading
To
colour.
is
that,
not, as
by
it is
It
graph is not to produce a coloured picture.
merely suggests the approximate colour of the
masses but it does not give the gradation, the
play of varied hues and blended tints, which invariably modify and beautify the surface of natural
;
is
false,
shade
154.
Laws of
Colour.
is
33o
CHAP.
in colour,
most
is
difficult to analyse.
It
it is
follows in this, as in
tints.
knows
sign of a colour
sees
what to
any one
idea of
call
it
it
to
is
Gradation.
"
All
Then
depend
follows Unity.
"
co-operation of every particle of colour they conThe final particles of colour necessary to
tain.
the
XIX
Painting
331
it is
a form of imagina-
tive design.
Repose of colour
whether
brilliant or
L.A.,
174).
Moderation, the
given above
"The
finer
to
require
last
56),
is
it
intensely.
it
But that
will
little
And
"A
332
all
CHAP.
his
crimson
is
in a
flame
"
(S.
azure,
V., vol.
chap.
i.
7).
a colourist
and these are the Laws of Colour
which Mr. Ruskin would have the student bear in
mind, although he has analysed in various places
;
xix
333
Painting
and
(in
The
combination,
miniaturist's
favourite
this
case VIII).
again,
be explained as the equilateral triangle inscribed in the circle (IV, VIII, and XII), and the
schemes of colour in decorative Art can be similarly
may
But
analysed.
he
colour,
feeling, all
all this
will
If
little.
designer very
colour well
the rules in
processes
his
in
colour.
monly advised
that
is
line,
practice
light
the student is com-
And
to say,
by teachers deriving
method
method of colouring
vahie, that
is
The only
impossible.
is that which regards
object
is
the limit of
its
334
Take a
another mass.
You
green cloth.
will
CHAP.
it
window
you
see
will
it
detach
itself as
a dark
In
space against the white or blue behind it.
either case its outline is the limit of the space of
light or dark colour by which it expresses itself
to your sight.
Usually light and shade are
thought of as separate from colour ; but the fact
.
that
is
all
Nature
is
lower shadows,
.
Painters
Shadow
that
much
this great
colour as light, often
In Titian's fullest red the lights are
shadow
more.
is
as
much
warm deep
crimson.
shadows
XIX
Painting
335
Hence
the
and
first,
;
;
finally, the modification of the colour to express modelling of solid
masses (L. F., chap. ii.
Of the outline we
i).
have already heard the next two movements, to
outline
then colour
first,
as it really appears in Nature, except in that dull northern studiolight in which too many of our painters are trained.
gradations.
Tone
is
336
CHAP.
artist's
Each mass
separately,
that
ing
:
Superadded labour
execution.
is
only a conces-
no
ashamed to confess. The quesit was in Architecture, not what
practicable under the circumstances, but what
the absolutely right method of work
the laws
sion
such
incapacity, but
to
incapacity as
painter need be
tion is here, as
is
is
of technical
"
In
conditions.
painting
ness
in
"
"
the
quality
water or
is
to
of
all,
Fresh-
when
in oil,
it
it."
it
is
This
down decisively
the only justifica-
laid
is
much sloppy
of
daubing
but
it
is
to
make
man
This
method does not necessitate a " summary treatment " many of the most elaborated works have
;
xix
337
Painting
the
finest
the
as
of painters
paralleled
pictures
among
show the
and
this
be
rapidity might
men by
those whose
living
greatest fulness of finish
and
"
and
And
vacillation, not
if
the student
is
water-colour.
distinction
in
oil
or
The
technical
conditions
of water-colour imply
not fulness of colour
338
and power of
relief.
fashioned language
when body-colour
"
is
It is
CHAF.
water-colour draiving"
But
used, its technical conditions
and freshness
is
fully attained
only in decision
faulty
values,
or
hasty
execution,
or
coarselyhis
from
advice.
student
is
And
"
yet the extended practice of water-colour painting, as a separate skill, is in every way harmful
to the Arts ; its pleasant slightness and plausible
dexterity divert the genius of the painter from its
proper aims, and withdraw the attention of the
public from excellence of higher claim."
xix
339
Painting
For Sculpture, and
for
is necessarily
in
so
Art
the
unattainable,
perfect way is not
that which any given man can claim to have
To determine it as a criterion
walked to the end.
of excellence
artist
every
is
is
necessary
but to require
demand
own
gifts
out what
it
of
absurd.
If we
attempting things to him impossible.
know our weakness, it becomes our strength ; and
the joy of every painter, by which he is made
narrow, is also the gift by which he is made
delightful, so long as he is modest in the thought
of his distinction from others, and no less severe
CHAPTER XX
STUDY AND CRITICISM
"
No true disciple of
158. Style and Teaching.
mine," the author says (St. Mark's Rest, Preface
to
Second Supplement),
'
He
"
will
ever be a
'
Rus-
will follow
as a teacher that
a short-cut to success.
On
is
keener
intellectual
habits
and
failure,
sometimes
the
"
incapable of assimilating his
strong meat," or
CHAP, xx
341
in
popular
artists.
studying natural features and the detail of archiThe seventeen lessons in The
tectural sculpture.
Fhole similarly
direct
mystery of colour,
in The Laws of
so
an
Art-Teaching of Ruskin
34 2
CHAP.
which
affectedly polite nor coarsely picturesque,
contains the elements of all these without their
the Art of Titian (7! P.,
eclecticism on the one hand,
one-sidedness
And, avoiding
the other that
weak
57).
and on
affectation of extravagance
of the
grounded
in
best
authorities
acting
the
in
concert,
art,
rooted
and wide
careers,
and
other professions, qualified and legitimate practiSometioners of an accepted and respected Art.
times it seems as though it were wiser to develop
it
more
its
way
through
all
xx
343
"
not primarily with the intention of learning a paying trade, but as a means of general culture (L. A.
'
Institute of Architects, or other authoritative association for the advancement of the Decorative Arts,
work
to do.
of London, published in a
work by
Sir
Thomas
Art-Teaching of l&iskin
344
CHAP.
of general education,
knowledge of it among those
become
to
increase
who were
the
likely
patrons,
them.
To learn
necessary complement and corrective.
Music you must produce the sound with voice and
instrument
to
learn
the complete
truth
about
And
tion.
are
the
and
it
has been
xx
1
60.
If
it
345
be necessary
The
',
who
in
old
times was
by a great
gulf,
now
mentary workers
in the
same
cause.
To
be versed
the
practice
that
is
who knows
his
men who
profess
themselves
the successors
so low as to drag
of
down
Art-Teaching of Ruskin
346
CHAP.
it
his
is
not to
make
pictures, to
When
he paints,
and sell
exhibit
and
it
may
day the
serious, consistent
Schools
"
and
"
Triposes."
xx
Who
347
To apprecito
the
best
that has
necessary
study
been done, not by casual inspection, but as great
works of literature are studied. This involves some
1
ate
6 1.
Art
it is
amount of
practical
impossible
without following him
and
(L. A.,
It
71).
is
into
of truth, his
subtle discriminations of character, and all that
goes to make him great as compared with the
inferior imitators of his style.
But copying is
his
finesse
generally
used
his
merely
to
learn
these
inferior
tricks, to
imitations
buyer.
when
Aph.
19),
and
intelligent abstracts
of the whole
subject.
for
348
CHAP.
And
Art.
we can
rise
work out
learned
masters
who has
great
scholars,
great master
but
is
one
Michelangelo and
The
reason
and
social
is
twofold
conditions
xx
349
real help
we must
and
art
masters."
called
current in
"
35o
CHAP.
Michelangelo
wrong"
Van Eyck,
Angelico, Leonardo, Correggio, Vandyck, Rembrandt, Reynolds, Gainsborough, Turner, and the
"You had better look at no
Pre-Raphaelites.
other painters than these."
Of engravings the
"
"
student is advised to look at a specified list of
xx
351
Dartmouth Cave,
Castle, Buckfastleigh,
Flint Castle,
Lancaster
Sands, Launceston,
Knaresborough,
Chain Bridge over the Tees, and High Force of
from the England Series
Tees
Drachenfels,
from the Keepsake
and
Ballyburgh Ness
Marly
from the Bible Melrose, DrySolomon's Pools
from Scott Rouen, lookLoch
Coriskin
burgh,
the
down
river, poplars on the right, and
ing
from Rivers of France]
also RemCaudebec
brandt's Spotted Shell and Diirer's Melencolia
Prout's Lithographs
John Lewis's Sketches in
Grimm
Rethel
Bewick
Cruikshank's
Spain
;
Blake's Job
and
Ludwig
Rossetti's Illustrations to
Of
Lord's
Richter's
Prayer
and
Tennyson.
still
maintained
of them
as
of
our
trustworthy
But
teachers.
Romanesque
twelfth-century detail
all
thirteenth
become cinquecento,
Flamboyant.
for
landscape
but Titian's master, Bellini, is the expainting
of
the style in which the student should
ponent
the outline and colour style
that
is,
begin,
;
352
CHAP.
described
is
App. i); Velasquez keeps his place; but Rembrandt and Diirer fall before the analysis of the
while
Cestus of Aglaia and Ariadne Florentina
with
in
treated
the
Leonardo, though
respect
;
Oxford
Lectures,
is
On
models
is
every respect
never do.
In Engraving, Holbein for woodcuts and Bottifor line are the standard types (see chap,
Richter's works are still praised for their
xvii.)
celli
less
authoritative remainder of
xx
353
(L.A.,
189).
"If you desire to
163. Study from Nature.
draw that you may represent something that you
If
care for, you will advance swiftly and steadily.
you
desire to
beautiful
"
The
general
painting, to be taken
been described
all
blocks (A.
.,
is
App.)
is,
believe,
founded on the
principle that
book
all
is
354
CHAP.
is
128).
The
"
"
as
it
159).
"(Z. A.,
For professional students the study of the nude
light
is
anatomy
is
harmful
App.
4).
of organic form
(L. F., chap, vi.)
for
xx
355
more need
But Mr. Ruskin strongly adeven decorative workvocates study of the figure
of
and
men
patterns must study the
designers
as
the
preliminary to all work
figure thoroughly
no
Art
in
good ornament can
83);
(7! P.,
be otherwise produced.
Landscapists, a fortiori,
must base their studies on a course of figure-
The Greeks
the modern
artist.
drawing
knowledge.
Special outdoor study of landscape is taken
E.
(i) Work at leisure,
Z>.) under three heads
(in
in tint reinforced and defined with pen
(2) in
:
facts
is
when
careful
The
wide: "Anything
Notes,
Nature
1858).
exercises
assumed
is
;
consequently,
artificial
rearrangements
356
CHAP.
And
come
here
we
Teacher gives
method
in
its
combination of ideas,
is
The
critic's
xx
357
hesitate
Hence,
71).
great
execution
is
sign
of
comer.
Great design
is
best.
But these
we can
do,
gifts,
may
be
lost
and it is necessary
or folly in misapplying them
to the wellbeing of Art that both good teachers
and good critics should coexist along with good
;
artists.
an
as helping or delaying
patronise it or pooh-pooh it.
either
it
The
we
all
either
great class of
who need
indirect criticism,
358
CHAP.
most
criticism
faults of
on the contrary,
vulgar merits
enable it to condemn the vices with which
a natural sympathy
them
"
wasted on
is
You
can, in
it
has
blame of
"
deaf ears
(A. E., App.)
truth, understand a man's word only
its
known
scientific criticism
in
from
to judge
full
Ruskin wrote
his
From
of Art
artist
is
this
it
"
follows,
impossible to
represents
many
sound criticism
men.
... A great
young
it is
and abstruse facts
First, that
xx
359
all
by
hearsay) known to the observer, whose recognition of them constitutes his approving judgment.
Criticism of
the
probability being
farther than the young
of criticism
the second
is,
then
man
they are
that
The
sees.
in general, useless, if
is
are capable of
"
becoming
first
true
kind
not harmful
employ who
of Art, at whatever
Secondly,
of
must
be
life,
partial, warped more or
period
less by the feelings of the person endeavouring to
all
Certain
judge.
instance)
ments
are
and
criticism
merits
of Art
(as
for
energy,
instance,
to
which promote
different ages,
modern work of
Art), whether
it
is
Art-Teaching of Ruskin
360
good or bad
"
CHAP.
1857).
tion,
Nor can
"
cannot,"
architects,
addressed, in the
is
"it
words of mine
is
in
place, to
first
'
'
'
curvature,'
by no
effort
colour
'
'
'
of Art.
"
prin-
stood until
it
is
"
it
(/.
.,
is
ultimately
it
is
wilfully
weak
"But
7).
there
one
that
you
fault
is,
haste,
see that a
slovenly, then
being
repress
right.
his
Whenever
involving negligence.
is
If his
insolence
if
it
is
either bold or
firmly, sure of
it
is
insolent
slovenly,
it
is
xx
indolent
works
spur his
in that
him
So long
indolence.
361
he
as
hope
for
in
is
the fact of
his
be
should
them
man
in
so difficult an
analysis.
Taking
one
others.
it
in
does not
mean crude
detail or hard
drawing, but
grasp
subject, which, if it be
or
dim, will produce a misty or
essentially misty
definite
dim
picture,
of
his
the aim
still
being
distinct.
Comit
is
Art-Teaching of Ruskin
362
CHAP.
and physical
is
impossible
favourite
sensibility,
(" all
maxim
added to
these.
"
Calmness
is
the attribute of
a confession of inferiority."
Thus the first attributes of the best Art are " faultless Workmanship
action
You
are to be inter-
in what
living creatures,
to
them.
happening
"Then the third attribute of the best Art
ested
in
not
the
is
is
that
body.
shall
it
And
you
vile-
the fourth
is
four essentials
xx
of the greatest
learned
Art
363
(2)
"
(3)
The Face
(4)
And
"
pain."
illustrated
the
human
with
us.
But
tribes,
it
may
and
follow the
settle
down
Art-Teaching of Ruskin
364
CHAP.
before
keeps pace.
And
is
indicated in the
upon
all
proportion of
do
for
its
work
them
is
engrossed.
finished.
So
it
must do
What
it
for
before
all,
can
ing
is
of a piece with
"
The greater part of the technic
of
men, as yet," says Mr. Ruskin (A. P.,
energy
"has
indicated a kind of childhood; the
30),
humanity.
xx
that
this sculpturing
all
365
come
it
that
we
shall
Him
for
images
burnt clay."
Meanwhile, to conclude his Art-Teaching with
alas for some of us that
the closing words of it
of
in
written at Chamouni on
they should be so!
Sunday, 1 6th September i 888, to end the Epilogue
to the last edition of his
Dimittis
"
first
work
his
Nunc
All that
is
my
'
'
(I forget
the
and now, in
writing beneath the cloudless peace of the snows
of Chamouni, what must be the really final words
of the book which their beauty inspired and their
strength guided, I am able, with yet happier and
words, but that
is
their purport)
its
366
Art-Teaching of Ruskin
CHAP, xx
to the
INDEX
figures refer to pages of this volume)
(The
ABSTRACT ART,
54 seqq., 71
123
29,
85,
39 seqq.
113 seq.,
13,
art,
343
211
seqq.
xiii.
Truth,
Structural,
toration,
Agesilaus, 39
Alessandri, Signer Angelo, 295
Alexander the Great, 39
277
Amateur, 345 seqq.
Anatomy, 97, 108 seqq.
Angelico, Fra Giovanni,
Alto-relievo,
22,
165,
323. 35
Madonna
Application of
chap.
Laws, Life,
Memory, Obedience, Power, ResBeauty,
Workman)
Ansidei,
121
discussed,
also
(see
seqq.,
Academy, Royal,
Accumulation of
Architecture
art,
231
211
Romanesque,
22,
230 seqq.
dei, of Raphael,
Roman,
Ornament,
Proportion,
Roof,
Sculpture)
,
214
Art, as
an "activity,"
116
seqq.
Art-Teaching of Ruskin
;68
50-58, 61
I3 1 !74
seq.
in,
87,
128,
and
craft,
172
seq.
Manu-
facture)
16,
definitions,
37,
49,
95,
97,
173
seqq.
214,
205,
282
evolution, 186 seqq. 2iC)seqq.,
222 seqq. 260, 316
and Fine Art, 41, 226 seqq. 254,
268
False or Sham, and Real or Vital,
its
Truth,
Teaching,
Theology,
Unity, Workman)
Artist, character and requirements,
seqq.,
202,
seqq.,
195,
34
164, 174,
2O6, 212,
198, 2O2,
225-229, 247
Formative, 49, 139
Great and High, 38
(other-
Maso Finiguerra),
294
Backgrounds of religious painters,
157
Balance, a law of composition, 256
in sculpture,
seqq.
159;
242
as Language, 37, 42, 95
Local, 197 seqq.
nascent and decadent, 187 seqq.
its nature, chap. ii.
as play, doll-play, 58, 91, 140
Ruskin's varying views, 20 seqq.
279
Bartolommeo, Fra, 22
Bas-relief, 269 seqq,
Beauty in architecture, 228
mania, 180
its
nature, chap.
41-44, 55, 96,
vii.
98,
and
108
27,
seq.,
86,
and
Bellini,
use,
219
seqq.
363
Bewick, Thomas, 296, 351
Bible imagery, 157
Body
Mimetic,
Nature,
Morality,
PhotoPhilosophy,
Painting,
Political
graphy,
Relation,
Schools,
colour,
338
Boldness, 338
Bosanquet, Bernard, 16
Botticelli,
Sandro,
8,
99,
101, 294,
3i7- 352
Breadth, 305, 354
Brush, 306 seqq. 353
Burgess, Arthur, 296
Burke, Edmund, 14
,
Economy,
Representation,
Sculpture,
Science,
CAMPANILE OF GIOTTO,
93, 233
Caricature, 127 seqq., 141
Index
Carlo Dolce, 92
Carlyle,
Thomas,
369
Criticism
18,
15,
and
critics,
80
22,
19,
149, 160
seqq.
,
100,
356
344,
seqq.
312
xviii.
,335
seqq.
Cima
di
Conegliano, 98
Circle, 291
Claude Lorrain, 92
Clay sculpture, 243, 270, 281
Cleverness, 197, 226
DANTE,
Architecture, Colour,
Composition, Conventional, Grafts,
Arabesque,
15,
44,
114
76,
seqq.
design
in
in,
Grand
248
259
Style,
Dependence (law
256
39
78,
and
319
composition),
327
173 seqq., 205,
art,
214
282
Moderation)
Discovery of art (Political Economy),
208
seqq.,
342
seq.
Distinctness, 361
Distribution (Political
Economy), 214
seqq.
Drawing and
seq.
general
(and
Copying, 347
Cormon, 102
colouring,
principles,
and 284
325
seqq.
chap,
xviii.
seqq.
water-colour, 338
Maurier, George, 297
Duran, Carolus, 310
Du
of
Detail, 88 seqq.,
241
Diirer,
seqq.
2 B
370
R.A.
THOMAS,
GAINSBOROUGH,
35o
Generalisation,
truth,
Education in
art,
general, helped
210
109,
by
seqq.
262,
of Ruskin, 6 seqq.
Effect
and Fact, 60
art,
Expression, in art,
Style,
39
in
234
183
108
(see
seqq.
in
282,
Grand
photography, 48
art,
105
seqq.
(see
Perspective}
George, Ernest, 298
George, St., Guild, 51,
209
102
Domenico,
Ghirlandajo,
195, 349
Gilding on sculpture, 280
GeYome,
335. 357
Experiments in
general
127, 189;
Geometry and
82,
Science}
seqq.
Emerson, R. W., 18
Exaggeration, 139
Execution, 42 seqq.
208, 214
art,
or
generic
iv.
chap.
J. L.,
tecture,^
art,
seqq.
103,
see Religion}
Government aid
Architecture,
330
Grand
grotesque,
seqq.
style,
,
39
12,
seqq.
313,
54,
72
86
141
Feeling, 48
Fichte, J. G., 15
Fielding, Copley, 6
Fiesole, 349
see
etc.,
Schools
etc.,
355
Finish, 43, 91 seqq. (see Completion,
Delicacy, Detail, Distinctness}
Florence, 22, 214 (see Schools}
Foliate relief, 277
325
seqq.
333
Francia, 350
Frediano, San, Lucca, 22
Fresco, 338
HARDING,
Harmony,
J.
D., 6, 7, 311
265, 354
Hatching, 297, 307
Hegel, G. W. F., 15-19,
114,
117,
147
Heredity, 181
Hobbima,
43,
92
Index
126 seq. 161
superhuman, 134, 143
Idealism, ideals, 55, 66 seqq.
Ideal, generic,
Laocoon
(statue), 121,
278
Laws
,
76,
90
189
273, 282
seq.
of structure, 354
Leonardo da Vinci, 53 seq., 93, 188,
195, 304 seq., 313, 317 seq., 349
Lewis,
257-268, 275,
Imitation, chap.
362
iii.
deceptive, 55 seqq.
Incision, 271 seqq.
and 42,
247
45, 114
200
Intellectual art, 290,
composition),
264
Interior-painting, 105, 318 seq.
Invention
in
(in
Lintel,
44, 114
Grecian
in
text),
139,
153,
181,
and
Chiar-
352
Lupton, Thomas, 300
Luini, 8, 195,
Masses,
' '
seqq.
etc.)
seqq.
its
(see
231
106
334
Mark's,
63,
oscuro)
Line, ^287 seqq.
LANDSCAPE,
seqq.
Japanese
R.A., 351
" Grand
Style," 39
art,
F.
297
of
(law
J.
Light, 303
Interchange
seq.
80
perspective, 105
St.,
seqq.
232
lion, 144
in
design,
318,
272,
334
seqq.
seqq., 215,
347 seqq.
Matching tone and colour, 310
Material, the virtues of (see Technical
+
conditions)
Mazzini, Giuseppe, 20
Venus de', 270 ;
Medici,
194
chapel, 268, 278
Meissonier, J. L. E., 43, 102
;
Memory,
"Lamp"
of,
229
Art-Teaching of Ruskin
372
engrav-
99,
107, 149, 1-72, 182-195, 240, 268,
278, 281, 305, 309, 323, 348,
35
Ruskin
at,
14,
343
Ruskin Drawing School,
352
26,
8,
293
John Stuart, 20, 76
Millais, Sir J. E., R.A., 106
Milton, John, 71, 72, 85
Mimetic art, 53 seqq., 190; instinct,
45- 57 -*Win
Modelling in clay, 243, 270, 281
drawing, 272, 310, 334 seqq.
Moderation as Law of Beauty, 122,
Mill,
the
PAINTING,
242
highest
and
282
sculpture,
varieties,
243
xii.
Patronage, chap.
Personification, 90,
gallery, 174,
105
seqq.
scape]
Art,
65,
seqq.,
iv.,
and
113,
118,
chap,
87,
OBEDIENCE, the
279
12
199, 354
"Lamp"
of,
229
69
225
seqq.
Originality,
art,
art,
183^^., 200
Ornament, 200, 234 seqq. 250
271 (see Decoration)
see
of,
Platonic theory
;
114, 126 seq.
Play, doll-play, as source of art, 58,
140, 144
Point drawing, 306 seqq.
Political economy of art, chap. xii.
of
293
seqq.
seq.
linear, 47,
in sculpture,
Truth]
Object of
seqq.
189
106
213
Niello, 285,
and
260
Nude, 109
seqq.
seqq.
Paper, 353
Patterns, 186,
Paul, St., 39
Mulready, W. R.A., in
Murray, C. Fairfax, 295
Museum, 215 S. Kensington, 278
57
63, 313
Particular truth, 87
and 118,
x.,
48,
and
seqq.
Parthenon, 277
291, 33i
Nature
194
art,
seqq.
Power,
42 seqq
228
artistic,
architecture,
170
in
Index
Praise, the
end of
373
^_ 128, 365
art,
37,
62,
64,
263
Proportion in architecture, 233 seqq.
Prout, Samuel, 6, 28, 105, 189, 264,
35i
Punch, newspaper, 297
Purism, 180
Purity, law of beauty, 122
seqq. (see
Manufacture]
54
seqq.
72,
76,
86,
113
seqq.,
317. 354
QUALITY
278
Roman
seq.
of painting,
architecture, see s. v.
Romanesque, see Architecture
school
Schools
see
RADIATION OF LINES,
264, 354
Raphael Sanzio,
and
324 seqq.
in engraving, 294
in sculpture, 279
Reason and imagination, 135, 162
Refinement, 179, 286
colour,
ix.
323
ix.
seq.
and
popes, 194
teachers,
6-8
pendent study of
art,
of literature,
character,
n,
seqq.
views,
21
seq.
inde-
8-n, 310
,
personal
154; religious
118-125, 154
seqq.
12-20;
on
ethics
and
politics,
20
100
practical
at the
4,
264
and
tion
Renaissance art-philosophy, 71
34L 344
3!.
304. 3 r 3
writings, 27-33
10,
374
" Arrows
363
"Old Road
"),
("Old Road"), 29
,
no seq.
31,
64,
352
Oxford
96
seqq.
304,
on Reynolds, un-
lectures,
published, 13
Poems, 7
Political
360
Economy
,
of Art, 24-32,
342
seqq.
358,
seq.
Road
4,
24,
29,
i5
Joy for Ever, and
market (see Political Economy
of Art]
Laws of Fesole, 29-37, 63 seqq.
79, 95, 106 seqq., 128 seq. 254,
,
288,
304-313,
347-354
on
319,
325-337,
Prout,
28
and
281
16,
32-37, 46,
62, 98, 106-111, 147, 153, 161181 seq., 190,
168, 176 seq.
'200-220, 230, 245, 250 seqq.
,
300,
Seven
Lamps
of Architecture, 10,
23,
28-33,
93.
308,
313
seqq.
358
I2 9>
222-243,
250-265, 299
and
Road"), 30
Holbein
Sir Joshua
Architecture
Lectures on Art.
28
"), 23,
Queen of
its price in the
seq.
223,
147,
138,
Early Essays, 7, 21
Elements of Drawing,
Lectures
288
seq.,
Stones of Venice,
8,
23,
87,
278, 291
of
Study
Road"),
seq.
' '
28, 46,
162,
143,
250
322-332
Architecture
31, 77, 174,
Old
seqq.,
' '
Old
181
Two
the
Modern
144
180,
seq.
seq.
264
Oxford?]
tecture)
Index
Schools, Athenian, 188, 191, 197
Bolognese, 107, 318
Burgundian, 199
Celtic and Scandinavian, 186
Chiaroscurist, 318 seqq.
Christian,
T.tf>
seqq.
Colourist,
322
seqq.
6,
78,
140
Sculptor, requirements
243, 272, 281
general
for
success,
134,
Colleone,
(see
Ilaria]
Oriental, 275
Seal-cutting, 285
Selection, 65 seqq.
Sense,
172,
182,
its
common
117 seqq.
pleasures,
sense, see Communis
Shade, 304
189,
264
German, 188
Gothic, 73, 141, 145, 158 seqq.,
191-199, 280, 316
Greek, 73, 83, in, 156 seqq.,
172, 182 seqq., 257, 270, 280,
182, 186, 188
seqq.
shading,
chap.
xi.
and 249,
Spenser,
187, 199
Oriental
(Indian, Chinese,
178, 186, 275, 322
Phoenician, 188
~
Pseudo-classic, 199
Renaissance,
83,
128,
etc.),
Roman,
184,
seqq.,
265,
349
seqq.
304
Symbolism, 143 seqq., 189
3ymmetry, 121, 233, 262
and materialism, 18
Ruskin's interest in, 17,
its
art,
231
157,
39, 141
seqq.
Standards of
135
76
Edmund, 142
280
chaps.
and xviii.
Shadow, 284 (see Chiaroscuro]
xvii.
Sociology of
347. 357
316
Norman,
chap,
principles,
Laocoon, Venus]
Gothic, 271 seqq.
Italian, early,
Sculpture,
Corinthian, 199
Doric, 199
French,
375
16,
36,
100
Scientific theory of beauty,
114
R.A.,
IO2
95
96,
376
Teaching of
364
Technical
art,
242
seqq.
296,
285,
3*3. 337
method, 356
Theology and
123
art,
seqq.
(see
Religion)
Theoria, 16, 117-125, 134, 180
Tintoret, 22, 24, 43, 83, 94, 133,
172, 188, 194 seq. 240, 323, 348
,
seqq.
Titian, 93,
,
Harmony)
seq.
see
(and
Beauty}
Undercutting, 274
197
ability, 42,
conditions,
126-128
UGLINESS,
seq.
seq.
305, 333
284,
145
257
VALUES,
47,
307
78,
333,
seqq.,
354
Van Dyck,
Van Eyck,
35. 352
Venice, 22, 143, 233 seq. (see Schools,
Venetian)
Venus de' Medici, 270 of Melos,
;
279
seqq.
Tradition in
183
Transparency, 296, 307 seqq.
Treatment, 180 (see Composition,
Design, Imagination)
Truth
art,
in art,
52
185
seqq., 308, 315, 361
in architecture, 228
chap,
42, 48,
150,
v.,
seqq.
348
62,
189
seqq.,
131,
WAGES OF
particular, 87
105
98,
W.,
se1->
seqq.,
182,
151,
171,
seq.,
304, 314,
R.A.,
5.
133
189,
337,
6,
80,
8,
89,
147,
seq.,
265
204,
350
seq.,
362
works, Bolton
Faido,
83
Water-colour,
78, 89,
92, 132
M.
seqq.
Wash and
42
ART, 216
72
Turner, J.
21-27,
and
Life
Beauty, 125 seqq.
Vulgarity, 179, 275
128,
seq.,
seqq.
seq.
295
seqq.
Coblentz,
of
263
300
Harbours of England,
Liber Studiorum, 300
Terni,
60 various, 350 seq.
120
seqq.
Typical Beauty,
;
Working Men's
Workman,
the
life
235
Printed by R.
&
College,
4,
341,
344
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