Well, all these motives for some definite course of action on our part towards foreign countries rest upon very serious facts; too serious, perhaps you will think, to be interfered with; for we are all of us in the habit of leaving great things alone, as if Providence would mind them, and attending ourselves only to little things which we know, practically, Providence doesn't mind unless we do. We are ready enough to give care to the growing of pines and lettuces, knowing that they don't grow Providentially sweet or large unless we look after them; but we don't give any care to the good of Italy or Germany, because we think that they will grow Providentially happy without any of our meddling.

83. Let us leave the great things, then, and think of little things; not of the destruction of whole provinces in war, which it may not be any business of ours to prevent; but of the destruction of poor little pictures in peace, from which it surely would not be much out of our way to save them. You know I said, just now, we were all of us engaged in pulling pictures to pieces by deputy, and you did not believe me.

Consider, then, this similitude of ourselves. Suppose you saw (as I doubt not you often do see) a prudent and kind young lady sitting at work, in the corner of a quiet room, knitting comforters for her cousins, and that just outside, in the hall, you saw a cat and her kittens at play among the family pictures; amusing themselves especially with the best Vand.y.k.es, by getting on the tops of the frames, and then scrambling down the canvases by their claws; and on some one's informing the young lady of these proceedings of the cat and kittens, suppose she answered that it wasn't her cat, but her sister's, and the pictures weren't hers, but her uncle's, and she couldn't leave her work, for she had to make so many pairs of comforters before dinner. Would you not say that the prudent and kind young lady was, on the whole, answerable for the additional touches of claw on the Vand.y.k.es?

84. Now, that is precisely what we prudent and kind English are doing, only on a larger scale. Here we sit in Manchester, hard at work, very properly, making comforters for our cousins all over the world. Just outside there in the hall--that beautiful marble hall of Italy--the cats and kittens and monkeys are at play among the pictures: I a.s.sure you, in the course of the fifteen years in which I have been working in those places in which the most precious remnants of European art exist, a sensation, whether I would or no, was gradually made distinct and deep in my mind, that I was living and working in the midst of a den of monkeys;--sometimes amiable and affectionate monkeys, with all manner of winning ways and kind intentions,--more frequently selfish and malicious monkeys; but, whatever their disposition, squabbling continually about nuts, and the best places on the barren sticks of trees; and that all this monkeys' den was filled, by mischance, with precious pictures, and the witty and wilful beasts were always wrapping themselves up and going to sleep in pictures, or tearing holes in them to grin through; or tasting them and spitting them out again, or twisting them up into ropes and making swings of them; and that sometimes only, by watching one's opportunity, and bearing a scratch or a bite, one could rescue the corner of a Tintoret, or Paul Veronese, and push it through the bars into a place of safety.

85. Literally, I a.s.sure you, this was, and this is, the fixed impression on my mind of the state of matters in Italy. And see how. The professors of art in Italy, having long followed a method of study peculiar to themselves, have at last arrived at a form of art peculiar to themselves; very different from that which was arrived at by Correggio and t.i.tian. Naturally, the professors like their own form the best; and, as the old pictures are generally not so startling to the eye as the modern ones, the dukes and counts who possess them, and who like to see their galleries look new and fine (and are persuaded also that a celebrated chef-d'oeuvre ought always to catch the eye at a quarter of a mile off), believe the professors who tell them their sober pictures are quite faded, and good for nothing, and should all be brought bright again; and, accordingly, give the sober pictures to the professors, to be put right by rules of art. Then, the professors repaint the old pictures in all the princ.i.p.al places, leaving perhaps only a bit of background to set off their own work. And thus the professors come to be generally figured, in my mind, as the monkeys who tear holes in the pictures, to grin through. Then the picture-dealers, who live by the pictures, cannot sell them to the English in their old and pure state; all the good work must be covered with new paint, and varnished so as to look like one of the professorial pictures in the great gallery, before it is saleable. And thus the dealers come to be imaged, in my mind, as the monkeys who make ropes of the pictures, to swing by. Then, every now and then at some old stable, or wine-cellar, or timber-shed, behind some forgotten vats or f.a.ggots, somebody finds a fresco of Perugino's or Giotto's, but doesn't think much of it, and has no idea of having people coming into his cellar, or being obliged to move his f.a.ggots; and so he whitewashes the fresco, and puts the f.a.ggots back again; and these kind of persons, therefore, come generally to be imaged, in my mind, as the monkeys who taste the pictures, and spit them out, not finding them nice. While, finally, the squabbling for nuts and apples (called in Italy "bella liberta") goes on all day long.

86. Now, all this might soon be put an end to, if we English, who are so fond of travelling in the body, would also travel a little in soul! We think it a great triumph to get our packages and our persons carried at a fast pace, but we never take the slightest trouble to put any pace into our perceptions; we stay usually at home in thought, or if we ever mentally see the world, it is at the old stage-coach or waggon rate. Do but consider what an odd sight it would be, if it were only quite clear to you how things are really going on--how, here in England, we are making enormous and expensive efforts to produce new art of all kinds, knowing and confessing all the while that the greater part of it is bad, but struggling still to produce new patterns of wall-papers, and new shapes of teapots, and new pictures, and statues, and architecture; and pluming and cackling if ever a teapot or a picture has the least good in it;--all the while taking no thought whatever of the best possible pictures, and statues, and wall-patterns already in existence, which require nothing but to be taken common care of, and kept from damp and dust: but we let the walls fall that Giotto patterned, and the canvases rot that Tintoret painted, and the architecture be dashed to pieces that St. Louis built, while we are furnishing our drawing-rooms with prize upholstery, and writing accounts of our handsome warehouses to the country papers. Don't think I use my words vaguely or generally: I speak of literal facts. Giotto's frescoes at a.s.sisi are perishing at this moment for want of decent care; Tintoret's pictures in San Sebastian, at Venice, are at this instant rotting piecemeal into grey rags; St.

Louis's chapel, at Carca.s.sonne, is at this moment lying in shattered fragments in the market-place. And here we are all cawing and crowing, poor little half-fledged daws as we are, about the pretty sticks and wool in our own nests. There's hardly a day pa.s.ses, when I am at home, but I get a letter from some well-meaning country clergyman, deeply anxious about the state of his parish church, and breaking his heart to get money together that he may hold up some wretched remnant of Tudor tracery, with one niche in the corner and no statue--when all the while the mightiest piles of religious architecture and sculpture that ever the world saw are being blasted and withered away, without one glance of pity or regret. The country clergyman does not care for _them_--he has a sea-sick imagination that cannot cross channel. What is it to him, if the angels of a.s.sisi fade from its vaults, or the queens and kings of Chartres fall from their pedestals? They are not in his parish.

87. "What!" you will say, "are we not to produce any new art, nor take care of our parish churches?" No, certainly not, until you have taken proper care of the art you have got already, and of the best churches out of the parish. Your first and proper standing is not as churchwardens and parish overseers, in an English county, but as members of the great Christian community of Europe. And as members of that community (in which alone, observe, pure and precious ancient art exists, for there is none in America, none in Asia, none in Africa), you conduct yourselves precisely as a manufacturer would, who attended to his looms, but left his warehouse without a roof. The rain floods your warehouse, the rats frolic in it, the spiders spin in it, the choughs build in it, the wall-plague frets and festers in it; and still you keep weave, weave, weaving at your wretched webs, and thinking you are growing rich, while more is gnawed out of your warehouse in an hour than you can weave in a twelvemonth.

88. Even this similitude is not absurd enough to set us rightly forth.

The weaver would, or might, at least, hope that his new woof was as stout as the old ones, and that, therefore, in spite of rain and ravage, he would have something to wrap himself in when he needed it. But _our_ webs rot as we spin. The very fact that we despise the great art of the past shows that we cannot produce great art now. If we could do it, we should love it when we saw it done--if we really cared for it, we should recognize it and keep it; but we don't care for it. It is not art that we want; it is amus.e.m.e.nt, gratification of pride, present gain--anything in the world but art: let it rot, we shall always have enough to talk about and hang over our sideboards.

89. You will (I hope) finally ask me what is the outcome of all this, practicable tomorrow morning by us who are sitting here? These are the main practical outcomes of it: In the first place, don't grumble when you hear of a new picture being bought by Government at a large price.

There are many pictures in Europe now in danger of destruction which are, in the true sense of the word, priceless; the proper price is simply that which it is necessary to give to get and to save them. If you can get them for fifty pounds, do; if not for less than a hundred, do; if not for less than five thousand, do; if not for less than twenty thousand, do; never mind being imposed upon: there is nothing disgraceful in being imposed upon; the only disgrace is in imposing; and you can't in general get anything much worth having, in the way of Continental art, but it must be with the help or connivance of numbers of people who, indeed, ought to have nothing to do with the matter, but who practically have, and always will have, everything to do with it; and if you don't choose to submit to be cheated by them out of a ducat here and a zecchin there, you will be cheated by them out of your picture; and whether you are most imposed upon in losing that, or the zecchins, I think I may leave you to judge; though I know there are many political economists, who would rather leave a bag of gold on a garret-table, than give a porter sixpence extra to carry it downstairs.

That, then, is the first practical outcome of the matter. Never grumble, but be glad when you hear of a new picture being bought at a large price. In the long run, the dearest pictures are always the best bargains; and, I repeat, (for else you might think I said it in mere hurry of talk, and not deliberately,) there are some pictures which are without price. You should stand, nationally, at the edge of Dover cliffs--Shakespeare's--and wave blank cheques in the eyes of the nations on the other side of the sea, freely offered, for such and such canvases of theirs.

90. Then the next practical outcome of it is--Never buy a copy of a picture, under any circ.u.mstances whatever. All copies are bad; because no painter who is worth a straw ever _will_ copy. He will make a study of a picture he likes, for his own use, in his own way; but he won't and can't copy. Whenever you buy a copy, you buy so much misunderstanding of the original, and encourage a dull person in following a business he is not fit for, besides increasing ultimately chances of mistake and imposture, and farthering, as directly as money _can_ farther, the cause of ignorance in all directions. You may, in fact, consider yourself as having purchased a certain quant.i.ty of mistakes; and, according to your power, being engaged in disseminating them.

91. I do not mean, however, that copies should never be made. A certain number of dull persons should always be employed by a Government in making the most accurate copies possible of all good pictures; these copies, though artistically valueless, would be historically and doc.u.mentarily valuable, in the event of the destruction of the original picture. The studies also made by great artists for their own use, should be sought after with the greatest eagerness; they are often to be bought cheap; and in connection with the mechanical copies, would become very precious: tracings from frescoes and other large works are also of great value; for though a tracing is liable to just as many mistakes as a copy, the mistakes in a tracing are of one kind only, which may be allowed for, but the mistakes of a common copyist are of all conceivable kinds: finally, engravings, in so far as they convey certain facts about the pictures, without pretending adequately to represent or give an idea of the pictures, are often serviceable and valuable. I can't, of course, enter into details in these matters just now; only this main piece of advice I can safely give you--never to buy copies of pictures (for your private possession) which pretend to give a facsimile that shall be in any wise representative of, or equal to, the original. Whenever you do so, you are only lowering your taste, and wasting your money. And if you are generous and wise, you will be ready rather to subscribe as much as you would have given for a copy of a great picture towards its purchase, or the purchase of some other like it, by the nation. There ought to be a great National Society inst.i.tuted for the purchase of pictures; presenting them to the various galleries in our great cities, and watching there over their safety: but in the meantime, you can always act safely and beneficially by merely allowing your artist friends to buy pictures for you, when they see good ones. Never buy for yourselves, nor go to the foreign dealers; but let any painter whom you know be entrusted, when he finds a neglected old picture in an old house, to try if he cannot get it for you; then, if you like it, keep it; if not, send it to the hammer, and you will find that you do not lose money on pictures so purchased.

92. And the third and chief practical outcome of the matter is this general one: Wherever you go, whatever you do, act more for _preservation_ and less for _production_. I a.s.sure you, the world is, generally speaking, in calamitous disorder, and just because you have managed to thrust some of the lumber aside, and get an available corner for yourselves, you think you should do nothing but sit spinning in it all day long--while, as householders and economists, your first thought and effort should be, to set things more square all about you. Try to set the ground floors in order, and get the rottenness out of your granaries. _Then_ sit and spin, but not till then.

93. IV. DISTRIBUTION.--And now, lastly, we come to the fourth great head of our inquiry, the question of the wise distribution of the art we have gathered and preserved. It must be evident to us, at a moment's thought, that the way in which works of art are on the whole most useful to the nation to which they belong, must be by their collection in public galleries, supposing those galleries properly managed. But there is one disadvantage attached necessarily to gallery exhibition--namely, the extent of mischief which may be done by one foolish curator. As long as the pictures which form the national wealth are disposed in private collections, the chance is always that the people who buy them will be just the people who are fond of them; and that the sense of exchangeable value in the commodity they possess, will induce them, even if they do not esteem it themselves, to take such care of it as will preserve its value undiminished. At all events, so long as works of art are scattered through the nation, no universal destruction of them is possible; a certain average only are lost by accidents from time to time. But when they are once collected in a large public gallery, if the appointment of curator becomes in any way a matter of formality, or the post is so lucrative as to be disputed by place-hunters, let but one foolish or careless person get possession of it, and perhaps you may have all your fine pictures repainted, and the national property destroyed, in a month. That is actually the case at this moment, in several great foreign galleries. They are the places of execution of pictures: over their doors you only want the Dantesque inscription, "Lasciate ogni speranza, voi che entrate."

94. Supposing, however, this danger properly guarded against, as it would be always by a nation which either knew the value, or understood the meaning, of painting,[12] arrangement in a public gallery is the safest, as well as the most serviceable, method of exhibiting pictures; and it is the only mode in which their historical value can be brought out, and their historical meaning made clear. But great good is also to be done by encouraging the private possession of pictures; partly as a means of study, (much more being always discovered in any work of art by a person who has it perpetually near him than by one who only sees it from time to time,) and also as a means of refining the habits and touching the hearts of the ma.s.ses of the nation in their domestic life.

[Note 12: It would be a great point gained towards the preservation of pictures if it were made a rule that at every operation they underwent, the exact spots in which they have been repainted should be recorded in writing.]

95. For these last purposes, the most serviceable art is the living art of the time; the particular tastes of the people will be best met, and their particular ignorances best corrected, by painters labouring in the midst of them, more or less guided to the knowledge of what is wanted by the degree of sympathy with which their work is received. So then, generally, it should be the object of government, and of all patrons of art, to collect, as far as may be, the works of dead masters in public galleries, arranging them so as to ill.u.s.trate the history of nations, and the progress and influence of their arts; and to encourage the private possession of the works of _living_ masters. And the first and best way in which to encourage such private possession is, of course, to keep down the prices of them as far as you can.

I hope there are not a great many painters in the room; if there are, I entreat their patience for the next quarter of an hour: if they will bear with me for so long, I hope they will not, finally, be offended by what I am going to say.

96. I repeat, trusting to their indulgence in the interim, that the first object of our national economy, as respects the distribution of modern art, should be steadily and rationally to limit its prices, since by doing so, you will produce two effects: you will make the painters produce more pictures, two or three instead of one, if they wish to make money; and you will, by bringing good pictures within the reach of people of moderate income, excite the general interest of the nation in them, increase a thousandfold the demand for the commodity, and therefore its wholesome and natural production.

97. I know how many objections must arise in your minds at this moment to what I say; but you must be aware that it is not possible for me in an hour to explain all the moral and commercial bearings of such a principle as this. Only, believe me, I do not speak lightly; I think I have considered all the objections which could be rationally brought forward, though I have time at present only to glance at the main one--namely, the idea that the high prices paid for modern pictures are either honourable, or serviceable, to the painter. So far from this being so, I believe one of the princ.i.p.al obstacles to the progress of modern art to be the high prices given for good modern pictures. For observe first the action of this high remuneration on the artist's mind.

If he "gets on," as it is called, catches the eye of the public, and especially of the public of the upper cla.s.ses, there is hardly any limit to the fortune he may acquire; so that, in his early years, his mind is naturally led to dwell on this worldly and wealthy eminence as the main thing to be reached by his art; if he finds that he is not gradually rising towards it, he thinks there is something wrong in his work; or, if he is too proud to think that, still the bribe of wealth and honour warps him from his honest labour into efforts to attract attention; and he gradually loses both his power of mind and his rect.i.tude of purpose.

This, according to the degree of avarice or ambition which exists in any painter's mind, is the necessary influence upon him of the hope of great wealth and reputation. But the harm is still greater, in so far as the possibility of attaining fortune of this kind tempts people continually to become painters who have no real gift for the work; and on whom these motives of mere worldly interest have exclusive influence;--men who torment and abuse the patient workers, eclipse or thrust aside all delicate and good pictures by their own gaudy and coa.r.s.e ones, corrupt the taste of the public, and do the greatest amount of mischief to the schools of art in their day which it is possible for their capacities to effect; and it is quite wonderful how much mischief may be done even by small capacity. If you could by any means succeed in keeping the prices of pictures down, you would throw all these disturbers out of the way at once.

98. You may perhaps think that this severe treatment would do more harm than good, by withdrawing the wholesome element of emulation, and giving no stimulus to exertion; but I am sorry to say that artists will always be sufficiently jealous of one another, whether you pay them large or low prices; and as for stimulus to exertion, believe me, no good work in this world was ever done for money, nor while the slightest thought of money affected the painter's mind. Whatever idea of pecuniary value enters into his thoughts as he works, will, in proportion to the distinctness of its presence, shorten his power. A real painter will work for you exquisitely, if you give him, as I told you a little while ago, bread and water and salt; and a bad painter will work badly and hastily, though you give him a palace to live in, and a princedom to live upon. Turner got, in his earlier years, half a crown a day and his supper (not bad pay, neither); and he learned to paint upon that. And I believe that there is no chance of art's truly flourishing in any country, until you make it a simple and plain business, providing its masters with an easy competence, but rarely with anything more. And I say this, not because I despise the great painter, but because I honour him; and I should no more think of adding to his respectability or happiness by giving him riches, than, if Shakespeare or Milton were alive, I should think we added to _their_ respectability, or were likely to get better work from them, by making them millionaires.

99. But, observe, it is not only the painter himself whom you injure, by giving him too high prices; you injure all the inferior painters of the day. If they are modest, they will be discouraged and depressed by the feeling that their doings are worth so little, comparatively, in your eyes;--if proud, all their worst pa.s.sions will be aroused, and the insult or opprobrium which they will try to cast on their successful rival will not only afflict and wound him, but at last sour and harden him: he cannot pa.s.s through such a trial without grievous harm.

100. That, then, is the effect you produce on the painter of mark, and on the inferior ones of his own standing. But you do worse than this; you deprive yourselves, by what you give for the fashionable picture, of the power of helping the younger men who are coming forward. Be it admitted, for argument's sake, if you are not convinced by what I have said, that you do no harm to the great man by paying him well; yet certainly you do him no special good. His reputation is established, and his fortune made; he does not care whether you buy or not; he thinks he is rather doing you a favour than otherwise by letting you have one of his pictures at all. All the good you do him is to help him to buy a new pair of carriage horses; whereas, with that same sum which thus you cast away, you might have relieved the hearts and preserved the health of twenty young painters; and if, among those twenty, you but chanced on one in whom a true latent power had been hindered by his poverty, just consider what a far-branching, far-embracing good you have wrought with that lucky expenditure of yours. I say, "Consider it," in vain; you cannot consider it, for you cannot conceive the sickness of heart with which a young painter of deep feeling toils through his first obscurity;--his sense of the strong voice within him, which you will not hear;--his vain, fond, wondering witness to the things you will not see;--his far-away perception of things that he could accomplish if he had but peace, and time, all unapproachable and vanishing from him, because no one will leave him peace or grant him time: all his friends falling back from him; those whom he would most reverently obey rebuking and paralysing him; and, last and worst of all, those who believe in him the most faithfully suffering by him the most bitterly;--the wife's eyes, in their sweet ambition, shining brighter as the cheek wastes away; and the little lips at his side parched and pale, which one day, he knows, though he may never see it, will quiver so proudly when they call his name, calling him "our father." You deprive yourselves, by your large expenditure for pictures of mark, of the power of relieving and redeeming _this_ distress; you injure the painter whom you pay so largely;--and what, after all, have you done for yourselves or got for yourselves? It does not in the least follow that the hurried work of a fashionable painter will contain more for your money than the quiet work of some unknown man. In all probability, you will find, if you rashly purchase what is popular at a high price, that you have got one picture you don't care for, for a sum which would have bought twenty you would have delighted in.

101. For remember always, that the price of a picture by a living artist never represents, never _can_ represent, the quant.i.ty of labour or value in it. Its price represents, for the most part, the degree of desire which the rich people of the country have to possess it. Once get the wealthy cla.s.ses to imagine that the possession of pictures by a given artist adds to their "gentility," and there is no price which his work may not immediately reach, and for years maintain; and in buying at that price, you are not getting value for your money, but merely disputing for victory in a contest of ostentation. And it is hardly possible to spend your money in a worse or more wasteful way; for though you may not be doing it for ostentation yourself, you are, by your pertinacity, nourishing the ostentation of others; you meet them in their game of wealth, and continue it for them; if they had not found an opposite player, the game would have been done; for a proud man can find no enjoyment in possessing himself of what n.o.body disputes with him. So that by every farthing you give for a picture beyond its fair price--that is to say, the price which will pay the painter for his time--you are not only cheating yourself and buying vanity, but you are stimulating the vanity of others; paying, literally, for the cultivation of pride. You may consider every pound that you spend above the just price of a work of art, as an investment in a cargo of mental quick-lime or guano, which, being laid on the fields of human nature, is to grow a harvest of pride. You are in fact ploughing and harrowing, in a most valuable part of your land, in order to reap the whirlwind; you are setting your hand stoutly to Job's agriculture--"Let thistles grow instead of wheat, and c.o.c.kle instead of barley."

102. Well, but you will say, there is one advantage in high prices, which more than counter-balances all this mischief, namely, that by great reward we both urge and enable a painter to produce rather one perfect picture than many inferior ones: and one perfect picture (so you tell us, and we believe it) is worth a great number of inferior ones.

It is so; but you cannot get it by paying for it. A great work is only done when the painter gets into the humour for it, likes his subject, and determines to paint it as well as he can, whether he is paid for it or not; but bad work, and generally the worst sort of bad work, is done when he is trying to produce a showy picture, or one that shall appear to have as much labour in it as shall be worth a high price.[13]

[Note 13: When this lecture was delivered, I gave here some data for approximate estimates of the average value of good modern pictures of different cla.s.ses; but the subject is too complicated to be adequately treated in writing, without introducing more detail than the reader will have patience for. But I may state, roughly, that prices above a hundred guineas are in general extravagant for water-colours, and above five hundred for oils. An artist almost always does wrong who puts more work than these prices will remunerate him for into any single canvas--his talent would be better employed in painting two pictures than one so elaborate. The water-colour painters also are getting into the habit of making their drawings too large, and in a measure attaching their price rather to breadth and extent of touch than to thoughtful labour. Of course marked exceptions occur here and there, as in the case of John Lewis, whose drawings are wrought with unfailing precision throughout, whatever their scale. Hardly any price can be remunerative for such work.]

103. There is, however, another point, and a still more important one, bearing on this matter of purchase, than the keeping down of prices to a rational standard. And that is, that you pay your prices into the hands of living men, and do not pour them into coffins.

For observe that, as we arrange our payment of pictures at present, no artist's work is worth half its proper value while he is alive. The moment he dies, his pictures, if they are good, reach double their former value; but, that rise of price represents simply a profit made by the intelligent dealer or purchaser on his past purchases. So that the real facts of the matter are, that the British public, spending a certain sum annually in art, determines that, of every thousand it pays, only five hundred shall go to the painter, or shall be at all concerned in the production of art; and that the other five hundred shall be paid merely as a testimonial to the intelligent dealer, who knew what to buy.

Now, testimonials are very pretty and proper things, within due limits; but testimonial to the amount of a hundred per cent. on the total expenditure is not good political economy. Do not, therefore, in general, unless you see it to be necessary for its preservation, buy the picture of a dead artist. If you fear that it may be exposed to contempt or neglect, buy it; its price will then, probably, not be high: if you want to put it into a public gallery, buy it; you are sure, then, that you do not spend your money selfishly: or, if you loved the man's work while he was alive, and bought it then, buy it also now, if you can see no living work equal to it. But if you did not buy it while the man was living, never buy it after he is dead: you are then doing no good to him, and you are doing some shame to yourself. Look around you for pictures that you really like, and in buying which you can help some genius yet unperished--that is the best atonement you can make to the one you have neglected--and give to the living and struggling painter at once wages, and testimonial.

104. So far then of the motives which should induce us to keep down the prices of modern art, and thus render it, as a private possession, attainable by greater numbers of people than at present. But we should strive to render it accessible to them in other ways also--chiefly by the permanent decoration of public buildings; and it is in this field that I think we may look for the profitable means of providing that constant employment for young painters of which we were speaking last evening.

The first and most important kind of public buildings which we are always sure to want, are schools: and I would ask you to consider very carefully, whether we may not wisely introduce some great changes in the way of school decoration. Hitherto, as far as I know, it has either been so difficult to give all the education we wanted to our lads, that we have been obliged to do it, if at all, with cheap furniture and bare walls; or else we have considered that cheap furniture and bare walls are a proper part of the means of education; and supposed that boys learned best when they sat on hard forms, and had nothing but blank plaster about and above them whereupon to employ their spare attention; also, that it was as well they should be accustomed to rough and ugly conditions of things, partly by way of preparing them for the hardships of life, and partly that there might be the least possible damage done to floors and forms, in the event of their becoming, during the master's absence, the fields or instruments of battle. All this is so far well and necessary, as it relates to the training of country lads, and the first training of boys in general. But there certainly comes a period in the life of a well-educated youth, in which one of the princ.i.p.al elements of his education is, or ought to be, to give him refinement of habits; and not only to teach him the strong exercises of which his frame is capable, but also to increase his bodily sensibility and refinement, and show him such small matters as the way of handling things properly, and treating them considerately.

105. Not only so; but I believe the notion of fixing the attention by keeping the room empty, is a wholly mistaken one: I think it is just in the emptiest room that the mind wanders most; for it gets restless, like a bird, for want of a perch, and casts about for any possible means of getting out and away. And even if it be fixed, by an effort, on the business in hand, that business becomes itself repulsive, more than it need be, by the vileness of its a.s.sociations; and many a study appears dull or painful to a boy, when it is pursued on a blotted deal desk, under a wall with nothing on it but scratches and pegs, which would have been pursued pleasantly enough in a curtained corner of his father's library, or at the lattice window of his cottage. Now, my own belief is, that the best study of all is the most beautiful; and that a quiet glade of forest, or the nook of a lake sh.o.r.e, are worth all the schoolrooms in Christendom, when once you are past the multiplication table; but be that as it may, there is no question at all but that a time ought to come in the life of a well-trained youth, when he can sit at a writing-table without wanting to throw the inkstand at his neighbour; and when also he will feel more capable of certain efforts of mind with beautiful and refined forms about him than with ugly ones. When that time comes, he ought to be advanced into the decorated schools; and this advance ought to be one of the important and honourable epochs of his life.

106. I have not time, however, to insist on the mere serviceableness to our youth of refined architectural decoration, as such; for I want you to consider the probable influence of the particular kind of decoration which I wish you to get for them, namely, historical painting. You know we have hitherto been in the habit of conveying all our historical knowledge, such as it is, by the ear only, never by the eye; all our notion of things being ostensibly derived from verbal description, not from sight. Now, I have no doubt that, as we grow gradually wiser--and we are doing so every day--we shall discover at last that the eye is a n.o.bler organ than the ear; and that through the eye we must, in reality, obtain, or put into form, nearly all the useful information we are to have about this world. Even as the matter stands, you will find that the knowledge which a boy is supposed to receive from verbal description is only available to him so far as in any underhand way he gets a sight of the thing you are talking about. I remember well that, for many years of my life, the only notion I had of the look of a Greek knight was complicated between recollection of a small engraving in my pocket Pope's Homer, and reverent study of the Horse Guards. And though I believe that most boys collect their ideas from more varied sources and arrange them more carefully than I did; still, whatever sources they seek must always be ocular: if they are clever boys, they will go and look at the Greek vases and sculptures in the British Museum, and at the weapons in our armouries--they will see what real armour is like in l.u.s.tre, and what Greek armour was like in form, and so put a fairly true image together, but still not, in ordinary cases, a very living or interesting one.

107. Now, the use of your decorative painting would be, in myriads of ways, to animate their history for them, and to put the living aspect of past things before their eyes as faithfully as intelligent invention can; so that the master shall have nothing to do but once to point to the schoolroom walls, and for ever afterwards the meaning of any word would be fixed in a boy's mind in the best possible way. Is it a question of cla.s.sical dress--what a tunic was like, or a chlamys, or a peplus? At this day, you have to point to some vile woodcut, in the middle of a dictionary page, representing the thing hung upon a stick; but then, you would point to a hundred figures, wearing the actual dress, in its fiery colours, in all actions of various stateliness or strength; you would understand at once how it fell round the people's limbs as they stood, how it drifted from their shoulders as they went, how it veiled their faces as they wept, how it covered their heads in the day of battle. _Now_, if you want to see what a weapon is like, you refer, in like manner, to a numbered page, in which there are spear-heads in rows, and sword-hilts in symmetrical groups; and gradually the boy gets a dim mathematical notion how one scimitar is hooked to the right and another to the left, and one javelin has a k.n.o.b to it and another none: while one glance at your good picture would show him,--and the first rainy afternoon in the schoolroom would for ever fix in his mind,--the look of the sword and spear as they fell or flew; and how they pierced, or bent, or shattered--how men wielded them, and how men died by them.

108. But far more than all this, is it a question not of clothes or weapons, but of men? how can we sufficiently estimate the effect on the mind of a n.o.ble youth, at the time when the world opens to him, of having faithful and touching representations put before him of the acts and presences of great men--how many a resolution, which would alter and exalt the whole course of his after-life, might be formed, when in some dreamy twilight he met, through his own tears, the fixed eyes of those shadows of the great dead, unescapable and calm, piercing to his soul; or fancied that their lips moved in dread reproof or soundless exhortation? And if but for one out of many this were true--if yet, in a few, you could be sure that such influence had indeed changed their thoughts and destinies, and turned the eager and reckless youth, who would have cast away his energies on the race-horse or the gambling-table, to that n.o.ble life-race, that holy life-hazard, which should win all glory to himself and all good to his country,--would not that, to some purpose, be "political economy of art"?