Chapter 13

"I have always, through life, been of opinion that there is no business of any kind that can be compared to that of a man who farms his own land. It appears to me that every earthly pleasure, with health, is within his reach. But numbers of these men (the old statesmen) were grossly ignorant, and in exact proportion to that ignorance they were sure to be offensively proud. This led them to attempt appearing above their station, which hastened them on to their ruin; but, indeed, this disposition and this kind of conduct invariably leads to such results. There were many of these lairds on Tyneside; as well as many who held their lands on the tenure of 'suit and service,' and were nearly on the same level as the lairds. Some of the latter lost their lands (not fairly, I think) in a way they could not help; many of the former, by their misdirected pride and folly, were driven into towns, to slide away into nothingness, and to sink into oblivion, while their 'ha' houses' (halls), that ought to have remained in their families from generation to generation, have moldered away. I have always felt extremely grieved to see the ancient mansions of many of the country gentlemen, from somewhat similar causes, meet with a similar fate. The gentry should, in an especial manner, prove by their conduct that they are guarded against showing any symptom of foolish pride; at the same time that they soar above every meanness, and that their conduct is guided by truth, integrity, and patriotism. If they wish the people to partake with them in these good qualities, they must set them the example, without which no real respect can ever be paid to them. Gentlemen ought never to forget the respectable station they hold in society, and that they are the natural guardians of public morals and may with propriety be considered as the head and the heart of the country, while 'a bold peasantry' are, in truth, the arms, the sinews, and the strength of the same; but when these last are degraded, they soon become dispirited and mean, and often dishonest and useless."

* * * * *

"This singular and worthy man[BG] was perhaps the most invaluable acquaintance and friend I ever met with. His moral lectures and advice to me formed a most important succedaneum to those imparted by my parents. His wise remarks, his detestation of vice, his industry, and his temperance, crowned with a most lively and cheerful disposition, altogether made him appear to me as one of the best of characters. In his workshop I often spent my winter evenings. This was also the case with a number of young men who might be considered as his pupils; many of whom, I have no doubt, he directed into the paths of truth and integrity, and who revered his memory through life. He rose early to work, lay down when he felt weary, and rose again when refreshed. His diet was of the simplest kind; and he ate when hungry, and drank when dry, without paying regard to meal-times. By steadily pursuing this mode of life he was enabled to accumulate sums of money--from ten to thirty pounds. This enabled him to get books, of an entertaining and moral tendency, printed and circulated at a cheap rate. His great object was, by every possible means, to promote honorable feelings in the minds of youth, and to prepare them for becoming good members of society. I have often discovered that he did not overlook ingenious mechanics, whose misfortunes--perhaps mismanagement--had led them to a lodging in Newgate. To these he directed his compassionate eye, and for the deserving (in his estimation), he paid their debt, and set them at liberty. He felt hurt at seeing the hands of an ingenious man tied up in prison, where they were of no use either to himself or to the community. This worthy man had been educated for a priest; but he would say to me, 'Of a "trouth," Thomas, I did not like their ways.' So he gave up the thoughts of being a priest, and bent his way from Aberdeen to Edinburgh, where he engaged himself to Allan Ramsay, the poet, then a bookseller at the latter place, in whose service he was both shopman and bookbinder. From Edinburgh he came to Newcastle. Gilbert had had a liberal education bestowed upon him. He had read a great deal, and had reflected upon what he had read. This, with his retentive memory, enabled him to be a pleasant and communicative companion. I lived in habits of intimacy with him to the end of his life; and, when he died, I, with others of his friends, attended his remains to the grave at the Ballast Hills."

And what graving on the sacred cliffs of Egypt ever honored them, as that grass-dimmed furrow does the mounds of our Northern land?

FOOTNOTES:

[AS] The world was not then ready for Le Pere Hyacinthe;--but the real gist of the matter is that Lippi did, openly and bravely, what the highest prelates in the Church did basely and in secret; also he loved, where they only lusted; and he has been proclaimed therefore by them--and too foolishly believed by us--to have been a shameful person. Of his true life, and the colors given to it, we will try to learn something tenable, before we end our work in Florence.

[AT] I insert supplementary notes, when of importance, in the text of the lecture, for the convenience of the general reader.

[AU] Mr. Charles F. Murray.

[AV] Some notice of this picture is given at the beginning of my third Morning in Florence, 'Before the Soldan.'

[AW] I am bitterly sorry for the pain which my partial references to the man whom of all English artists whose histories I have read, I most esteem, have given to one remaining member of his family. I hope my meaning may be better understood after she has seen the close of this lecture.

[AX] Read Ezekiel xviii.

[AY] See also the account by Dr. Woltmann of the picture of the Triumph of Riches. 'Holbein and his Time,' p. 352.

[AZ] These words are engraved in the plate, as spoken by the Virgin.

[BA] Cosimo Rosselli, especially chosen by the Pope for his gay coloring.

[BB] I am not certain of their order at this distance of time.

[BC] Callimachus, 'Delos,' 304, etc.

[BD] In the Old King's Arms Hotel, Lancaster.

[BE] A manufacturer wrote to me the other day, "We don't _want_ to make smoke!" Who said they did?--a hired murderer does not want to commit murder, but does it for sufficient motive. (Even our shipowners don't want to drown their sailors; they will only do it for sufficient motive.) If the dirty creatures _did_ want to make smoke, there would be more excuse for them: and that they are not clever enough to consume it, is no praise to them. A man who can't help his hiccough leaves the room: why do they not leave the England they pollute?

[BF] I know no drawing so subtle as Bewick's, since the fifteenth century, except Holbein's and Turner's. I have been greatly surprised lately by the exquisite water-color work in some of Stothard's smaller vignettes; but he cannot set the line like Turner or Bewick.

[BG] Gilbert Gray, bookbinder. I have to correct the inaccurate--and very harmfully inaccurate, expression which I used of Bewick, in Love's Meinie (Sec. 3), 'a printer's lad at Newcastle.' His first master was a goldsmith and engraver, else he could never have been an artist. I am very heartily glad to make this correction, which establishes another link of relation between Bewick and Botticelli; but my error was partly caused by the impression which the above description of his "most invaluable friend" made on me, when I first read it.

Much else that I meant to correct, or promised to explain, in this lecture, must be deferred to the Appendix; the superiority of the Tuscan to the Greek Aphrodite I may perhaps, even at last, leave the reader to admit or deny as he pleases, having more important matters of debate on hand. But as I mean only to play with Proserpina during the spring, I will here briefly anticipate a statement I mean in the Appendix to enforce, namely, of the extreme value of colored copies by hand, of paintings whose excellence greatly consists in color, as auxiliary to engravings of them. The prices now given without hesitation for nearly worthless original drawings by fifth-rate artists, would obtain for the misguided buyers, in something like a proportion of ten to one, most precious copies of drawings which can only be represented at all in engraving by entire alteration of their treatment, and abandonment of their finest purposes. I feel this so strongly that I have given my best attention, during upwards of ten years, to train a copyist to perfect fidelity in rendering the work of Turner; and having now succeeded in enabling him to produce facsimiles so close as to look like replicas, facsimiles which I must sign with my own name and his, in the very work of them, to prevent their being sold for real Turner vignettes, I can obtain no custom for him, and am obliged to leave him to make his bread by any power of captivation his original sketches may possess in the eyes of a public which maintains a nation of copyists in Rome, but is content with black and white renderings of great English art; though there is scarcely one cultivated English gentleman or lady who has not been twenty times in the Vatican, for once that they have been in the National Gallery.

NOTES.

228. I. The following letter, from one of my most faithful readers, corrects an important piece of misinterpretation in the text. The waving of the reins must be only in sign of the fluctuation of heat round the Sun's own chariot:--

"Spring Field, Ambleside, "February 11, 1875.

"Dear Mr. Ruskin,--Your fifth lecture on Engraving I have to hand.

"Sandro intended those wavy lines meeting under the Sun's right[BH] hand, (Plate V.) primarily, no doubt, to represent the four ends of the four reins dangling from the Sun's hand. The flames and rays are seen to continue to radiate from the platform of the chariot between and beyond these ends of the reins, and over the knee. He may have wanted to acknowledge that the warmth of the earth was Apollo's, by making these ends of the reins spread out separately and wave, and thereby inclose a form like a flame. But I cannot think it.

"Believe me, "Ever yours truly, "CHAS. WM. SMITH."

II. I meant to keep labyrinthine matters for my Appendix; but the following most useful by-words from Mr. Tyrwhitt had better be read at once:--

"In the matter of Cretan Labyrinth, as connected by Virgil with the Ludus Trojae, or equestrian game of winding and turning, continued in England from twelfth century; and having for last relic the maze[BI] called 'Troy Town,' at Troy Farm, near Somerton, Oxfordshire, which itself resembles the circular labyrinth on a coin of Cnossus in Fors Clavigera. (Letter 23, p. 12.)

"The connecting quotation from Virg., AEn., V. 588, is as follows:

'Ut quondam Creta fertur Labyrinthus in alta Parietibus textum caecis iter, ancipitemque Mille viis habuisse dolum, qua signa sequendi Falleret indeprensus et inremeabilis error. Haud alio Teucruen nati vestigia cursu Impediunt, texuntque fagas et proelia ludo, Delphinum similes.'"

Labyrinth of Ariadne, as cut on the Downs by shepherds from time immemorial,--

Shakespeare, 'Midsummer Night's Dream,' Act ii., sc. 2:

"_Oberon._ The nine-men's morris[BJ] is filled up with mud; And the quaint mazes in the wanton green By lack of tread are undistinguishable."

The following passage, 'Merchant of Venice,' Act iii., sc. 2, confuses (to all appearance) the Athenian tribute to Crete, with the story of Hesione: and may point to general confusion in the Elizabethan mind about the myths:

"_Portia._ ... with much more love Than young Alcides, when he did reduce The virgin-tribute paid by howling Troy To the sea monster."[BK]

Theseus is the Attic Hercules, however; and Troy may have been a sort of house of call for mythical monsters, in the view of midland shepherds.

FOOTNOTES:

[BH] "Would not the design have looked better, to us, on the plate than on the print? On the plate, the reins would be in the left hand; and the whole movement be from the left to the right? The two different forms that the radiance takes would symbolize respectively heat and light, would they not?"

[BI] Strutt, pp. 97-8, ed. 1801.

[BJ] Explained as "a game still played by the shepherds, cowkeepers," etc., in the midland counties.

[BK] See Iliad, 20, 145.

APPENDIX.

ARTICLE I.

NOTES ON THE PRESENT STATE OF ENGRAVING IN ENGLAND.

229. I have long deferred the completion of this book, because I had hoped to find time to show, in some fullness, the grounds for my conviction that engraving, and the study of it, since the development of the modern finished school, have been ruinous to European knowledge of art. But I am more and more busied in what I believe to be better work, and can only with extreme brevity state here the conclusions of many years' thought.

These, in several important particulars, have been curiously enforced on me by the carelessness shown by the picture dealers about the copies from Turner which it has cost Mr. Ward and me[BL] fifteen years of study together to enable ourselves to make. "They are only copies," say they,--"nobody will look at them."

230. It never seems to occur even to the most intelligent persons that an engraving also is 'only a copy,' and a copy done with refusal of color, and with disadvantage of means in rendering shade. But just because this utterly inferior copy can be reduplicated, and introduces a different kind of skill, in another material, people are content to lose all the composition, and all the charm, of the original,--so far as these depend on the chief gift of a _painter_,--color; while they are gradually misled into attributing to the painter himself qualities impertinently added by the engraver to make his plate popular: and, which is far worse, they are as gradually and subtly prevented from looking, in the original, for the qualities which engraving could never render. Further, it continually happens that the very best color-compositions engrave worst; for they often extend colors over great spaces at equal pitch, and the green is as dark as the red, and the blue as the brown; so that the engraver can only distinguish them by lines in different directions, and his plate becomes a vague and dead mass of neutral tint; but a bad and forced piece of color, or a piece of work of the Bolognese school, which is everywhere black in the shadows, and colorless in the lights, will engrave with great ease, and appear spirited and forcible. Hence engravers, as a rule, are interested in reproducing the work of the worst schools of painting.

Also, the idea that the merit of an engraving consisted in light and shade, has prevented the modern masters from even attempting to render works dependent mainly on outline and expression; like the early frescoes, which should indeed have been the objects of their most attentive and continual skill: for outline and expression are entirely within the scope of engraving; and the scripture histories of an aisle of a cloister might have been engraved, to perfection, with little more pains than are given by ordinary workmen to round a limb by Correggio, or imitate the texture of a dress by Sir Joshua,--and both, at last, inadequately.

231. I will not lose more time in asserting or lamenting the mischief arising out of the existing system: but will rapidly state what the public should now ask for.

1. Exquisitely careful engraved outlines of all remaining frescoes of the thirteenth, fourteenth, and fifteenth centuries in Italy, with so much pale tinting as may be explanatory of their main masses; and with the local darks and local lights brilliantly relieved. The Arundel Society have published some meritorious plates of this kind from Angelico,--not, however, paying respect enough to the local colors, but conventionalizing the whole too much into outline.

2. Finished small plates for book illustration. The cheap wood-cutting and etching of popular illustrated books have been endlessly mischievous to public taste: they first obtained their power in a general reaction of the public mind from the insipidity of the lower school of line engraving, brought on it by servile persistence in hack work for ignorant publishers. The last dregs of it may still be seen in the sentimental landscapes engraved for cheap ladies' pocket-books. But the woodcut can never, educationally, take the place of serene and accomplished line engraving; and the training of young artists in whom the gift of delineation prevails over their sense of color, to the production of scholarly, but small plates, with their utmost honor of skill, would give a hitherto unconceived dignity to the character and range of our popular literature.

3. Vigorous mezzotints from pictures of the great masters, which originally present noble contrasts of light and shade. Many Venetian works are magnificent in this character.

4. Original design by painters themselves, decisively engraved in few lines--(_not_ etched); and with such insistence by dotted work on the main contours as we have seen in the examples given from Italian engraving.

5. On the other hand, the men whose quiet patience and exquisite manual dexterity are at present employed in producing large and costly plates, such as that of the Belle Jardiniere de Florence, by M. Boucher Desnoyers, should be entirely released from their servile toil, and employed exclusively in producing colored copies, or light drawings, from the original work. The same number of hours of labor, applied with the like conscientious skill, would multiply precious likenesses of the real picture, full of subtle veracities which no steel line could approach, and conveying, to thousands, true knowledge and unaffected enjoyment of painting; while the finished plate lies uncared for in the portfolio of the virtuoso, serving only, so far as it is seen in the printseller's window by the people, to make them think that sacred painting must always be dull, and unnatural.

232. I have named the above engraving, because, for persons wishing to study the present qualities and methods of line-work, it is a pleasant and sufficient possession, uniting every variety of texture with great serenity of unforced effect, and exhibiting every possible artifice and achievement in the distribution of even and rugged, or of close and open line; artifices for which,--while I must yet once more and emphatically repeat that they are illegitimate, and could not be practiced in a revived school of classic art,--I would fain secure the reader's reverent admiration, under the conditions exacted by the school to which they belong. Let him endeavor, with the finest point of pen or pencil he can obtain, to imitate the profile of this Madonna in its relief against the gray background of the water surface; let him examine, through a good lens, the way in which the lines of the background are ended in a lance-point as they approach it; the exact equality of depth of shade being restored by inserted dots, which prepare for the transition to the manner of shade adopted in the flesh: then let him endeavor to trace with his own hand some of the curved lines at the edge of the eyelid, or in the rounding of the lip; or if these be too impossible, even a few of the quiet undulations which gradate the folds of the hood behind the hair; and he will, I trust, begin to comprehend the range of delightful work which would be within the reach of such an artist, employed with more tractable material on more extended subject.

233. If, indeed, the present system were capable of influencing the mass of the people, and enforcing among them the subtle attention necessary to appreciate it, something might be pleaded in defense of its severity. But all these plates are entirely above the means of the lower middle classes, and perhaps not one reader in a hundred can possess himself, for the study I ask of him, even of the plate to which I have just referred. What, in the stead of such, he can and does possess, let him consider,--and, if possible, just after examining the noble qualities of this conscientious engraving.

234. Take up, for an average specimen of modern illustrated works, the volume of Dickens's 'Master Humphrey's Clock,' containing 'Barnaby Rudge.'

You have in that book an entirely profitless and monstrous story, in which the principal characters are a coxcomb, an idiot, a madman, a savage blackguard, a foolish tavern-keeper, a mean old maid, and a conceited apprentice,--mixed up with a certain quantity of ordinary operatic pastoral stuff, about a pretty Dolly in ribbons, a lover with a wooden leg, and an heroic locksmith. For these latter, the only elements of good, or life, in the filthy mass of the story,[BM] observe that the author must filch the wreck of those old times of which we fiercely and frantically destroy every living vestige, whenever it is possible. You cannot have your Dolly Varden brought up behind the counter of a railway station; nor your jolly locksmith trained at a Birmingham brass-foundry. And of these materials, observe that you can only have the ugly ones illustrated. The cheap popular art cannot draw for you beauty, sense, or honesty; and for Dolly Varden, or the locksmith, you will look through the vignettes in vain. But every species of distorted folly and vice,--the idiot, the blackguard, the coxcomb, the paltry fool, the degraded woman,--are pictured for your honorable pleasure in every page, with clumsy caricature, struggling to render its dullness tolerable by insisting on defect,--if perchance a penny or two more may be coined out of the Cockney reader's itch for loathsomeness.

235. Or take up, for instance of higher effort, the 'Cornhill Magazine' for this month, July, 1876. It has a vignette of Venice for an illuminated letter. That is what your decorative art has become, by help of Kensington! The letter to be produced is a T. There is a gondola in the front of the design, with the canopy slipped back to the stern like a saddle over a horse's tail. There is another in the middle distance, all gone to seed at the prow, with its gondolier emaciated into an oar, at the stern; then there is a Church of the Salute, and a Ducal Palace,--in which I beg you to observe all the felicity and dexterity of modern cheap engraving; finally, over the Ducal Palace there is something, I know not in the least what meant for, like an umbrella dropping out of a balloon, which is the ornamental letter T. Opposite this ornamental design, there is an engraving of two young ladies and a parasol, between two trunks of trees. The white face and black feet of the principal young lady, being the points of the design, are done with as much care,--not with as much dexterity,--as an ordinary sketch of Du Maurier's in Punch. The young lady's dress, the next attraction, is done in cheap white and black cutting, with considerably less skill than that of any ordinary tailor's or milliner's shop-book pattern drawing. For the other young lady, and the landscape, take your magnifying glass, and look at the hacked wood that forms the entire shaded surface--one mass of idiotic scrabble, without the remotest attempt to express a single leaf, flower, or clod of earth. It is such landscape as the public sees out of its railroad window at sixty miles of it in the hour--and good enough for such a public.