154. Approval of Sat.u.r.day half-holiday movement (cp. 140, 161).

155. See above, s. 142.

156. Compet.i.tion in trade and labor regarded by witness as a great evil.

157. See above, s. 143, 149.

158-59. Happier condition of lower cla.s.ses abroad than at home.

Their dress also better abroad. 163-64, 166, and see above, s. 142.

160. See above, s. 143, 149, 157.

161. See above, s. 149, 154.

162. Use of existing public buildings for art collections.

163-64. See above, s. 158-59.

165. Surely England may one day be Merry England again.--When it ceased to be so.

166. See above, s. 158-59.

167. Increase of trade and deteriorated condition of working-cla.s.ses.--Our duty to them.

FOOTNOTES:

[Footnote 2: Reprinted from "The Report of the Select Committee on Public Inst.i.tutions. _Ordered by_ the House of Commons _to be printed_, 27 March 1860," pp. 113-123. The following members of the Committee were present on the occasion of the above evidence being given: -Sir John Trelawny (_Chairman_), Mr. Sclater Booth, Mr. Du Pre, Mr. Kinnaird, Mr.

Hanbury, Sir Robert Peel, Mr. Slaney, and Mr. John Tollemache.--ED.]

PICTURE GALLERIES--THEIR FUNCTIONS AND FORMATION.

THE ROYAL ACADEMY COMMISSION.[3]

_Evidence of John Ruskin, Monday, June 8th, 1863._

168. _Chairman._ You have, no doubt, frequently considered the position of the Royal Academy in this country?--Yes.

Is it in all points satisfactory to you?--No, certainly not.

Do you approve, for example, of the plan by which, on a vacancy occurring, the Royal Academicians supply that vacancy, or would you wish to see that election confided to any other hands?--I should wish to see the election confided to other hands. I think that all elections are liable to mistake, or mischance, when the electing body elect the candidate into them. I rather think that elections are only successful where the candidate is elected into a body other than the body of electors; but I have not considered the principles of election fully enough to be able to give any positive statement of opinion upon that matter. I only feel that at present the thing is liable to many errors and mischances.

Does it not seem, however, that there are some precedents, such, for example, as the Inst.i.tute of France, in which the body electing to the vacancies that occur within it keeps up a very high character, and enjoys a great reputation?--There are many such precedents; and, as every such body for its own honor must sometimes call upon the most intellectual men of the country to join it, I should think that every such body must retain a high character where the country itself has a proper sense of the worth of its best men; but the system of election may be wrong, though the sense of the country may be right; and I think, in appealing to a precedent to justify a system, we should estimate properly what has been brought about by the feeling of the country. We are all, I fancy, too much in the habit of looking to forms as the cause of what really is caused by the temper of the nation at the particular time, working, through the forms, for good or evil.

If, however, the election of Academicians were to be confided to artists who were not already Academicians themselves, would it be easy to meet this objection, that they would have in many cases a personal interest in the question; that each might be striving for his own admission to that distinction; whereas, when the election takes place among those who have already attained that distinction, direct personal interest at all events is absent?--I should think personal interest would act in a certain sense in either case; it would branch into too many subtleties of interest to say in what way it would act. I should think that it would be more important to the inferior body to decide rightly upon those who were to govern them, than to the superior body to decide upon those who were to govern other people; and that the superior body would therefore generally choose those who were likely to be pleasant to themselves;--pleasant, either as companions, or in carrying out a system which they chose for their own convenience to adopt; while the inferior body would choose men likely to carry out the system that would tend most to the general progress of art.

169. As I understand you, though you have a decided opinion that it would be better for some other const.i.tuent body to elect the members of the Royal Academy, you have not a decided opinion as to how that const.i.tuent body would best be composed?--By no means.

I presume you would wish that const.i.tuent body to consist of artists, though you are not prepared to say precisely how they should be selected?--I should like the const.i.tuent body to consist both of artists and of the public. I feel great difficulties in offering any suggestion as to the manner in which the electors should elect: but I should like the public as well as artists to have a voice, so that we might have the public feeling brought to bear upon painting as we have now upon music; and that the election of those who were to attract the public eye, or direct the public mind, should indicate also the will of the public in some respects; not that I think that "will" always wise, but I think you would then have pointed out in what way those who are teaching the public should best regulate the teaching; and also it would give the public itself an interest in art, and a sense of responsibility, which in the present state of things they never can have.

Will you explain more fully the precedent of music to which you have just adverted?--The fame of any great singer or any great musician depends upon the public enthusiasm and feeling respecting him. No Royal Academy can draw a large audience to the opera by stating that such and such a piece of music is good, or that such and such a voice is clear; if the public do not feel the voice to be delicious, and if they do not like the music, they will not go to hear it. The fame of the musician, whether singer, instrumentalist, or composer, is founded mainly upon his having produced a strong effect upon the public intellect and imagination. I should like that same effect to be produced by painters, and to be expressed by the public enthusiasm and approbation; not merely by expressions of approbation in conversation, but by the actual voice which in the theater is given by the shout and by the clapping of the hands. You cannot clap a picture, nor clap a painter at his work, but I should like the public in some way to bring their voice to bear upon the painter's work.

170. Have you formed any opinion upon the position of the a.s.sociates in the Royal Academy?--I have thought of it a little, but the present system of the Academy is to me so entirely nugatory, it produces so little effect in any way (what little effect it does produce being in my opinion mischievous), that it has never interested me; and I have felt the difficulty so greatly, that I never, till your lordship's letter reached me, paid much attention to it. I always thought it would be a waste of time to give much time to thinking how it might be altered; so that as to the position of a.s.sociates I can say little, except that I think, in any case, there ought to be some period of probation, and some advanced scale of dignity, indicative of the highest attainments in art, which should be only given to the oldest and most practiced painters.

From the great knowledge which you possess of British art, looking to the most eminent painters, sculptors, and architects at this time, should you say that the number of the Royal Academy is sufficient fully to represent them, or would you recommend an increase in the present number of Academicians?--I have not considered in what proportion the Academicianships at present exist. That is rather a question bearing upon the degree of dignity which one would be glad to confer. I should like the highest dignity to be limited, but I should like the inferior dignity corresponding to the a.s.sociateship to be given, as the degrees are given in the universities, without any limitation of number, to those possessing positive attainments and skill. I should think a very limited number of Academicianships would always meet all the requirements of the highest intellect of the country.

171. Have you formed any opinion upon the expediency of intrusting laymen with some share in the management of the affairs of the Academy?--No, I have formed no opinion upon that matter. I do not know what there is at present to be managed in the Academy. I should think if the Academy is to become an available school, laymen cannot be joined in the management of that particular department. In matters of revenue, and in matters concerning the general interests and dignity of the Academy, they might be.

Should you think that non-professional persons would be fitly a.s.sociated with artists in such questions as the selection and hanging of the pictures sent in for exhibition?--No, I think not.

Some persons have suggested that the president of the Academy should not always nor of necessity be himself an artist; should you approve of any system by which a gentleman of high social position, not an artist, was placed at the head of such a body as the Academy?--"Of such a body as the Academy," if I may be permitted to repeat your words, must of course have reference to the const.i.tution to be given to it. As at present const.i.tuted, I do not know what advantage might or might not be derived from such a gentleman being appointed president. As I should like to see it const.i.tuted, I think he ought to be an artist only.

172. Have you had any reason to observe or to make yourself acquainted with the working of the schools of the Royal Academy?--Yes, I have observed it. I have not made myself acquainted with the actual methods of teaching at present in use, but I know the general effect upon the art of the country.

What should you say was that effect?--Nearly nugatory: exceedingly painful in this respect, that the teaching of the Academy separates, as the whole idea of the country separates, the notion of art-education from other education, and when you have made that one fundamental mistake, all others follow. You teach a young man to manage his chalk and his brush--not always that--but having done that, you suppose you have made a painter of him; whereas to educate a painter is the same thing as to educate a clergyman or a physician--you must give him a liberal education primarily, and that must be connected with the kind of learning peculiarly fit for his profession. That error is partly owing to our excessively vulgar and excessively shallow English idea that the artist's profession is not, and cannot be, a liberal one. We respect a physician, and call him a gentleman, because he can give us a purge and clean out our stomachs; but we do not call an artist a gentleman, whom we expect to invent for us the face of Christ. When we have made that primary mistake, all other mistakes in education are trivial in comparison. The very notion of an art academy should be, a body of teachers of the youth who are to be the guides of the nation through its senses; and that is a very important means of guiding it. We have done a good deal through dinners, but we may some day do a good deal more through pictures.

You would have a more comprehensive system of teaching?--Much more comprehensive.

173. Do I rightly understand you that you would wish it to embrace branches of liberal education in general, and not be merely confined to specific artistic studies?--Certainly. I would have the Academy education corresponding wholly to the university education. The schools of the country ought to teach the boy the first conditions of manipulation. He should come up, I say not at what age, but probably at about fourteen or fifteen, to the central university of art, wherever that was established; and then, while he was taught to paint and to carve and to work in metal--just as in old times he would have been taught to manage the sword and lance, they being the princ.i.p.al business of his life,--during the years from fifteen to twenty, the chief attention of his governors should be to make a gentleman of him in the highest sense; and to give him an exceedingly broad and liberal education, which should enable him not only to work n.o.bly, but to conceive n.o.bly.

174. As to the point, however, of artistic manipulation, is not it the fact that many great painters have differed, and do differ, from each other, and would it therefore be easy for the Academy to adopt any authoritative system of teaching, excluding one mode and acknowledging another?--Not easy, but very necessary. There have been many methods; but there has never been a case of a great school which did not fix upon its method: and there has been no case of a thoroughly great school which did not fix upon the right method, as far as circ.u.mstances enabled it to do so. The meaning of a successful school is, that it has adopted a method which it teaches to its young painters, so that right working becomes a habit with them; so that with no thought, and no effort, and no torment, and no talk about it, they have the habit of doing what their school teaches them.

You do not think a system is equally good which leaves to each eminent professor, according to the bent of his genius or the result of his experience, to instruct young men, the instruction varying with the character of each professor?--Great benefit would arise if each professor founded his own school, and were interested in his own pupils; but, as has been sufficiently ill.u.s.trated in the schools of Domenichino and Guido, there is apt to arise rivalry between the masters, with no correlative advantages, unless the masters are all of one mind. And the only successful idea of an academy has been where the practice was consistent, and where there was no contradiction. Considering the knowledge we now have, and the means we now have of comparing all the works of the greatest painters, though, as you suggest by your question, it is not easy to adopt an authoritative system, yet it is perfectly possible. Let us get at the best method and let us teach that. There is unquestionably a best way if we can find it; and we have now in England the means of finding it out.

The teaching in the Academy is now, under all circ.u.mstances, gratuitous; would you wish that system to continue, or should you prefer to see a system of payment?--I am not prepared to answer that question. It would depend upon the sort of system that was adopted and on the kind of persons you received into your schools.

175. I presume you would say that in artistic teaching there are some points on which there would be common ground, and others upon which there must be specific teaching; for instance, in sculpture and painting there is a point up to which the proportions of the human figure have to be studied, but afterwards there is a divergence between the two arts of chiseling marble and laying colors on the canvas?--Certainly. I should think all that might be arranged in an Academy system very simply. You would have first your teaching of drawing with the soft point; and a.s.sociated with that, chiaroscuro: you would then have the teaching of drawing with the hard or black point, involving the teaching of the best system of engraving, and all that was necessary to form your school of engravers: you would then proceed to metal work; and on working in metal you would found your school of sculpture, and on that your school of architecture: and finally, and above all, you would have your school of painting, including oil painting and fresco painting, and all painting in permanent material; (not comprising painting in any material that was not permanent:) and with that you would a.s.sociate your school of chemistry, which should teach what was permanent and what was not; which school of chemistry should declare authoritatively, with the Academy's seal, what colors would stand and what process would secure their standing: and should have a sort of Apothecaries' Hall where anybody who required them could procure colors in the purest state; all these things being organized in one great system, and only possibly right by their connection and in their connection.

176. Do you approve of the encouragement which of late years has been given to fresco painting, and do you look forward to much extension of that branch of art in England?--I found when I was examining the term "fresco painting," that it was a wide one, that none of us seemed to know quite the limitation or extent of it; and after giving a good deal more time to the question I am still less able to answer distinctly on an understanding of the term "fresco painting:" but using the term "decorative painting, applicable to walls in permanent materials," I think it essential that every great school should include as one of its main objects the teaching of wall painting in permanent materials, and on a large scale.

You think it should form a branch of the system of teaching in the Academy?--I think it should form a branch of the teaching in the Academy, possibly the princ.i.p.al branch.

Does it so far as you know form a separate branch of teaching in any of the foreign academies?--I do not know.

177. Looking generally, and of course without mentioning any names, have you in the course of the last few years been generally satisfied with the selection of artists into the Royal Academy?--No, certainly not.

Do you think that some artists of merit have been excluded, or that artists whom you think not deserving of that honor have been elected?--More; that artists not deserving of the honor have been elected. I think it does no harm to any promising artist to be left out of the Academy, but it does harm to the public sometimes that an unpromising artist should be let into it.

You think there have been cases within the last few years in which persons, in your judgment, not ent.i.tled to that distinction have nevertheless been elected?--Certainly.

178. With respect to the selection of pictures for the exhibition, are you satisfied in general with that selection, or have you in particular instances seen ground to think that it has been injudiciously exercised?--In some cases it has been injudiciously exercised, but it is a matter of small importance; it causes heartburning probably, but little more. If a rejected picture is good, the public will see it some day or other, and find out that it is a good picture. I care little about what pictures are let in or not, but I do care about seeing the pictures that are let in. The main point, which everyone would desire to see determined, is how the pictures that are admitted are to be best seen. No picture deserving of being seen at all should be so hung as to give you any pain or fatigue in seeing it. If you let a picture into the room at all, it should not be hung so high as that either the feelings of the artist or the neck of the public should be hurt.

179. _Viscount Hardinge._ I gather from your evidence that you would wish to see the Royal Academy a sort of central university to which young men from other inst.i.tutions should be sent. a.s.suming that there were difficulties in the way of carrying that out, do you think, under the present system, you could exact from young men who are candidates for admission into the Royal Academy, some educational test?--Certainly; I think much depends upon that. If the system of education which I have been endeavoring to point out were adopted, you would have in every one of those professions very practiced workmen. You could not have any of this education carried out, unless you had thoroughly practiced workmen; and you should fix your pa.s.s as you fix your university pa.s.s, and you should pa.s.s a man in architecture, sculpture, and painting, because he knows his business, and knows as much of any other science as is necessary for his profession. You require a piece of work from him, and you examine him, and then you pa.s.s him,--call him whatever you like;--but you say to the public, Here is a workman in this branch who will do your work well.