A Joy For Ever Part 3

61. The heads of our subject which remain for our consideration this evening are, you will remember, the acc.u.mulation and the distribution of works of art. Our complete inquiry fell into four divisions--first, how to get our genius; then, how to apply our genius; then, how to acc.u.mulate its results; and lastly, how to distribute them. We considered, last evening, how to discover and apply it;--we have to-night to examine the modes of its preservation and distribution.

62. III. ACc.u.mULATION.--And now, in the outset, it will be well to face that objection which we put aside a little while ago; namely, that perhaps it is not well to have a great deal of good art; and that it should not be made too cheap.

"Nay," I can imagine some of the more generous among you exclaiming, "we will not trouble you to disprove that objection; of course it is a selfish and base one: good art, as well as other good things, ought to be made as cheap as possible, and put as far as we can within the reach of everybody."

63. Pardon me, I am not prepared to admit that. I rather side with the selfish objectors, and believe that art ought not to be made cheap, beyond a certain point; for the amount of pleasure that you can receive from any great work, depends wholly on the quant.i.ty of attention and energy of mind you can bring to bear upon it. Now, that attention and energy depend much more on the freshness of the thing than you would at all suppose; unless you very carefully studied the movements of your own minds. If you see things of the same kind and of equal value very frequently, your reverence for them is infallibly diminished, your powers of attention get gradually wearied, and your interest and enthusiasm worn out; and you cannot in that state bring to any given work the energy necessary to enjoy it. If, indeed, the question were only between enjoying a great many pictures each a little, or one picture very much, the sum of enjoyment being in each case the same, you might rationally desire to possess rather the larger quant.i.ty than the small; both because one work of art always in some sort ill.u.s.trates another, and because quant.i.ty diminishes the chances of destruction.

64. But the question is not a merely arithmetical one of this kind. Your fragments of broken admirations will not, when they are put together, make up one whole admiration; two and two, in this case, do not make four, nor anything like four. Your good picture, or book, or work of art of any kind, is always in some degree fenced and closed about with difficulty. You may think of it as of a kind of cocoanut, with very often rather an unseemly sh.e.l.l, but good milk and kernel inside. Now, if you possess twenty cocoanuts, and being thirsty, go impatiently from one to the other, giving only a single scratch with the point of your knife to the sh.e.l.l of each, you will get no milk from all the twenty. But if you leave nineteen of them alone, and give twenty cuts to the sh.e.l.l of one, you will get through it, and at the milk of it. And the tendency of the human mind is always to get tired before it has made its twenty cuts; and to try another nut: and moreover, even if it has perseverance enough to crack its nuts, it is sure to try to eat too many, and to choke itself. Hence, it is wisely appointed for us that few of the things we desire can be had without considerable labour, and at considerable intervals of time. We cannot generally get our dinner without working for it, and that gives us appet.i.te for it, we cannot get our holiday without waiting for it, and that gives us zest for it; and we ought not to get our picture without paying for it, and that gives us a mind to look at it.

65. Nay, I will even go so far as to say that we ought not to get books too cheaply. No book, I believe, is ever worth half so much to its reader as one that has been coveted for a year at a bookstall, and bought out of saved halfpence; and perhaps a day or two's fasting.

That's the way to get at the cream of a book. And I should say more on this matter, and protest as energetically as I could against the plague of cheap literature, with which we are just now afflicted, but that I fear your calling me to order, as being unpractical, because I don't quite see my way at present to making everybody fast for their books.

But one may see that a thing is desirable and possible, even though one may not at once know the best way to it,--and in my island of Barataria, when I get it well into order, I a.s.sure you no book shall be sold for less than a pound sterling; if it can be published cheaper than that, the surplus shall all go into my treasury, and save my subjects taxation in other directions; only people really poor, who cannot pay the pound, shall be supplied with the books they want for nothing, in a certain limited quant.i.ty. I haven't made up my mind about the number yet, and there are several other points in the system yet unsettled; when they are all determined, if you will allow me, I will come and give you another lecture, on the political economy of literature.[10]

[Note 10: See note 6th, in Addenda.]

66. Meantime, returning to our immediate subject, I say to my generous hearers, who want to shower t.i.tians and Turners upon us, like falling leaves, "Pictures ought not to be too cheap;" but in much stronger tone I would say to those who want to keep up the prices of pictorial property, that pictures ought not to be too dear--that is to say, not as dear as they are. For, as matters at present stand, it is wholly impossible for any man in the ordinary circ.u.mstances of English life to possess himself of a piece of great art. A modern drawing of average merit, or a first-cla.s.s engraving, may, perhaps, not without some self-reproach, be purchased out of his savings by a man of narrow income; but a satisfactory example of first-rate art--masterhands'

work--is wholly out of his reach. And we are so accustomed to look upon this as the natural course and necessity of things, that we never set ourselves in any wise to diminish the evil; and yet it is an evil perfectly capable of diminution.

67. It is an evil precisely similar in kind to that which existed in the Middle Ages, respecting good books, and which everybody then, I suppose, thought as natural as we do now our small supply of good pictures. You could not then study the work of a great historian, or great poet, any more than you can now study that of a great painter, but at heavy cost.

If you wanted a book, you had to get it written out for you, or to write it out for yourself. But printing came, and the poor man may read his Dante and his Homer; and Dante and Homer are none the worse for that.

But it is only in literature that private persons of moderate fortune can possess and study greatness: they can study at home no greatness in art; and the object of that acc.u.mulation which we are at present aiming at, as our third object in political economy, is to bring great art in some degree within the reach of the mult.i.tude; and, both in larger and more numerous galleries than we now possess, and by distribution, according to his wealth and wish, in each man's home, to render the influence of art somewhat correspondent in extent to that of literature.

Here, then, is the subtle balance which your economist has to strike: to acc.u.mulate so much art as to be able to give the whole nation a supply of it, according to its need, and yet to regulate its distribution so that there shall be no glut of it, nor contempt.

68. A difficult balance, indeed, for us to hold, if it were left merely to our skill to poise; but the just point between poverty and profusion has been fixed for us accurately by the wise laws of Providence. If you carefully watch for all the genius you can detect, apply it to good service, and then reverently preserve what it produces, you will never have too little art; and if, on the other hand, you never force an artist to work hurriedly, for daily bread, nor imperfectly, because you would rather have showy works than complete ones, you will never have too much. Do not force the multiplication of art, and you will not have it too cheap; do not wantonly destroy it, and you will not have it too dear.

69. "But who wantonly destroys it?" you will ask. Why, we all do.

Perhaps you thought, when I came to this part of our subject, corresponding to that set forth in our housewife's economy by the "keeping her embroidery from the moth," that I was going to tell you only how to take better care of pictures, how to clean them, and varnish them, and where to put them away safely when you went out of town. Ah, not at all. The utmost I have to ask of you is, that you will not pull them to pieces, and trample them under your feet. "What!" you will say, "when do we do such things? Haven't we built a perfectly beautiful gallery for all the pictures we have to take care of?" Yes, you have, for the pictures which are definitely sent to Manchester to be taken care of. But there are quant.i.ties of pictures out of Manchester which it is your business, and mine too, to take care of no less than of these, and which we are at this moment employing ourselves in pulling to pieces by deputy. I will tell you what they are, and where they are, in a minute; only first let me state one more of those main principles of political economy on which the matter hinges.

70. I must begin a little apparently wide of the mark, and ask you to reflect if there is any way in which we waste money more in England than in building fine tombs? Our respect for the dead, when they are _just_ dead, is something wonderful, and the way we show it more wonderful still. We show it with black feathers and black horses; we show it with black dresses and bright heraldries; we show it with costly obelisks and sculptures of sorrow, which spoil half of our most beautiful cathedrals.

We show it with frightful gratings and vaults, and lids of dismal stone, in the midst of the quiet gra.s.s; and last, and not least, we show it by permitting ourselves to tell any number of lies we think amiable or credible, in the epitaph. This feeling is common to the poor as well as the rich; and we all know how many a poor family will nearly ruin themselves, to testify their respect for some member of it in his coffin, whom they never much cared for when he was out of it; and how often it happens that a poor old woman will starve herself to death, in order that she may be respectably buried.

71. Now, this being one of the most complete and special ways of wasting money,--no money being less productive of good, or of any percentage whatever, than that which we shake away from the ends of undertakers'

plumes,--it is of course the duty of all good economists, and kind persons, to prove and proclaim continually, to the poor as well as the rich, that respect for the dead is not really shown by laying great stones on them to tell us where they are laid; but by remembering where they are laid, without a stone to help us; trusting them to the sacred gra.s.s and saddened flowers; and still more, that respect and love are shown to them, not by great monuments to them which we build with _our_ hands, but by letting the monuments stand, which they built with _their own_. And this is the point now in question.

72. Observe, there are two great reciprocal duties concerning industry, constantly to be exchanged between the living and the dead. We, as we live and work, are to be always thinking of those who are to come after us; that what we do may be serviceable, as far as we can make it so, to them, as well as to us. Then, when we die, it is the duty of those who come after us to accept this work of ours with thanks and remembrance, not thrusting it aside or tearing it down the moment they think they have no use for it. And each generation will only be happy or powerful to the pitch that it ought to be, in fulfilling these two duties to the Past and the Future. Its own work will never be rightly done, even for itself--never good, or n.o.ble, or pleasurable to its own eyes--if it does not prepare it also for the eyes of generations yet to come. And its own possessions will never be enough for it, and its own wisdom never enough for it, unless it avails itself gratefully and tenderly of the treasures and the wisdom bequeathed to it by its ancestors.

73. For, be a.s.sured, that all the best things and treasures of this world are not to be produced by each generation for itself; but we are all intended, not to carve our work in snow that will melt, but each and all of us to be continually rolling a great white gathering s...o...b..ll, higher and higher--larger and larger--along the Alps of human power.

Thus the science of nations is to be acc.u.mulative from father to son: each learning a little more and a little more; each receiving all that was known, and adding its own gain: the history and poetry of nations are to be acc.u.mulative; each generation treasuring the history and the songs of its ancestors, adding its own history and its own songs: and the art of nations is to be acc.u.mulative, just as science and history are; the work of living men is not superseding, but building itself upon the work of the past. Nearly every great and intellectual race of the world has produced, at every period of its career, an art with some peculiar and precious character about it, wholly unattainable by any other race, and at any other time; and the intention of Providence concerning that art, is evidently that it should all grow together into one mighty temple; the rough stones and the smooth all finding their place, and rising, day by day, in richer and higher pinnacles to heaven.

74. Now, just fancy what a position the world, considered as one great workroom--one great factory in the form of a globe--would have been in by this time, if it had in the least understood this duty, or been capable of it. Fancy what we should have had around us now, if, instead of quarrelling and fighting over their work, the nations had aided each other in their work, or if even in their conquests, instead of effacing the memorials of those they succeeded and subdued, they had guarded the spoils of their victories. Fancy what Europe would be now, if the delicate statues and temples of the Greeks--if the broad roads and ma.s.sy walls of the Romans--if the n.o.ble and pathetic architecture of the middle ages, had not been ground to dust by mere human rage. You talk of the scythe of Time, and the tooth of Time: I tell you, Time is scytheless and toothless; it is we who gnaw like the worm--we who smite like the scythe. It is ourselves who abolish--ourselves who consume: we are the mildew, and the flame; and the soul of man is to its own work as the moth that frets when it cannot fly, and as the hidden flame that blasts where it cannot illuminate. All these lost treasures of human intellect have been wholly destroyed by human industry of destruction; the marble would have stood its two thousand years as well in the polished statue as in the Parian cliff; but we men have ground it to powder, and mixed it with our own ashes. The walls and the ways would have stood--it is we who have left not one stone upon another, and restored its pathlessness to the desert; the great cathedrals of old religion would have stood--it is we who have dashed down the carved work with axes and hammers, and bid the mountain-gra.s.s bloom upon the pavement, and the sea-winds chant in the galleries.

75. You will perhaps think all this was somehow necessary for the development of the human race. I cannot stay now to dispute that, though I would willingly; but do you think it is _still_ necessary for that development? Do you think that in this nineteenth century it is still necessary for the European nations to turn all the places where their princ.i.p.al art-treasures are into battle-fields? For that is what they are doing even while I speak; the great firm of the world is managing its business at this moment, just as it has done in past time. Imagine what would be the thriving circ.u.mstances of a manufacturer of some delicate produce--suppose gla.s.s, or china--in whose workshop and exhibition rooms all the workmen and clerks began fighting at least once a day, first blowing off the steam, and breaking all the machinery they could reach; and then making fortresses of all the cupboards, and attacking and defending the show-tables, the victorious party finally throwing everything they could get hold of out of the window, by way of showing their triumph, and the poor manufacturer picking up and putting away at last a cup here and a handle there. A fine prosperous business that would be, would it not? and yet that is precisely the way the great manufacturing firm of the world carries on its business.

76. It has so arranged its political squabbles for the last six or seven hundred years, that not one of them could be fought out but in the midst of its most precious art; and it so arranges them to this day. For example, if I were asked to lay my finger, in a map of the world, on the spot of the world's surface which contained at this moment the most singular concentration of art-teaching and art-treasure, I should lay it on the name of the town of Verona. Other cities, indeed, contain more works of carriageable art, but none contain so much of the glorious local art, and of the springs and sources of art, which can by no means be made subjects of package or porterage, nor, I grieve to say, of salvage. Verona possesses, in the first place, not the largest, but the most perfect and intelligible Roman amphitheatre that exists, still unbroken in circle of step, and strong in succession of vault and arch: it contains minor Roman monuments, gateways, theatres, baths, wrecks of temples, which give the streets of its suburbs a character of antiquity unexampled elsewhere, except in Rome itself. But it contains, in the next place, what Rome does not contain--perfect examples of the great twelfth-century Lombardic architecture, which was the root of all the mediaeval art of Italy, without which no Giottos, no Angelicos, no Raphaels would have been possible: it contains that architecture, not in rude forms, but in the most perfect and loveliest types it ever attained--contains those, not in ruins, nor in altered and hardly decipherable fragments, but in churches perfect from porch to apse, with all their carving fresh, their pillars firm, their joints unloosened.

Besides these, it includes examples of the great thirteenth and fourteenth-century Gothic of Italy, not merely perfect, but elsewhere unrivalled. At Rome, the Roman--at Pisa, the Lombard--architecture may be seen in greater or in equal n.o.bleness; but not at Rome, nor Pisa, nor Florence, nor in any city of the world, is there a great mediaeval Gothic like the Gothic of Verona. Elsewhere, it is either less pure in type or less lovely in completion: only at Verona may you see it in the simplicity of its youthful power, and the tenderness of its accomplished beauty. And Verona possesses, in the last place, the loveliest Renaissance architecture of Italy, not disturbed by pride, nor defiled by luxury, but rising in fair fulfilment of domestic service, serenity of effortless grace, and modesty of home seclusion; its richest work given to the windows that open on the narrowest streets and most silent gardens. All this she possesses, in the midst of natural scenery such as a.s.suredly exists nowhere else in the habitable globe--a wild Alpine river foaming at her feet, from whose sh.o.r.e the rocks rise in a great crescent, dark with cypress, and misty with olive: illimitably, from before her southern gates, the tufted plains of Italy sweep and fade in golden light; around her, north and west, the Alps crowd in crested troops, and the winds of Benacus bear to her the coolness of their snows.

77. And this is the city--such, and possessing such things as these--at whose gates the decisive battles of Italy are fought continually: three days her towers trembled with the echo of the cannon of Arcola; heaped pebbles of the Mincio divide her fields to this hour with lines of broken rampart, whence the tide of war rolled back to Novara; and now on that crescent of her eastern cliffs, whence the full moon used to rise through the bars of the cypresses in her burning summer twilights, touching with soft increase of silver light the rosy marbles of her balconies,--along the ridge of that encompa.s.sing rock, other circles are increasing now, white and pale; walled towers of cruel strength, sable-spotted with cannon-courses. I tell you, I have seen, when the thunderclouds came down on those Italian hills, and all their crags were dipped in the dark, terrible purple, as if the winepress of the wrath of G.o.d had stained their mountain-raiment--I have seen the hail fall in Italy till the forest branches stood stripped and bare as if blasted by the locust; but the white hail never fell from those clouds of heaven as the black hail will fall from the clouds of h.e.l.l, if ever one breath of Italian life stirs again in the streets of Verona.

78. Sad as you will feel this to be, I do not say that you can directly prevent it; you cannot drive the Austrians out of Italy, nor prevent them from building forts where they choose. But I do say,[11] that you, and I, and all of us, ought to be both acting and feeling with a full knowledge and understanding of these things; and that, without trying to excite revolutions or weaken governments, we may give our own thoughts and help, so as in a measure to prevent needless destruction. We should do this, if we only realized the thing thoroughly. You drive out day by day through your own pretty suburbs, and you think only of making, with what money you have to spare, your gateways handsomer, and your carriage-drives wider--and your drawing-rooms more splendid, having a vague notion that you are all the while patronizing and advancing art; and you make no effort to conceive the fact that, within a few hours'

journey of you, there are gateways and drawing-rooms which might just as well be yours as these, all built already; gateways built by the greatest masters of sculpture that ever struck marble; drawing-rooms, painted by t.i.tian and Veronese; and you won't accept nor save these as they are, but you will rather fetch the house-painter from over the way, and let t.i.tian and Veronese house the rats.

[Note 11: The reader can hardly but remember Mrs. Browning's beautiful appeal for Italy, made on the occasion of the first great Exhibition of Art in England:--

Magi of the east and of the west, Your incense, gold, and myrrh are excellent!-- What gifts for Christ, then, bring ye with the rest?

Your hands have worked well. Is your courage spent In handwork only? Have you nothing best, Which generous souls may perfect and present, And He shall thank the givers for? no light Of teaching, liberal nations, for the poor, Who sit in darkness when it is not night?

No cure for wicked children? Christ,--no cure, No help for women, sobbing out of sight Because men made the laws? no brothel-lure Burnt out by popular lightnings? Hast thou found No remedy, my England, for such woes?

No outlet, Austria, for the scourged and bound, No call back for the exiled? no repose, Russia for knouted Poles worked underground, And gentle ladies bleached among the snows?

No mercy for the slave, America?

No hope for Rome, free France, chivalric France?

Alas, great nations have great shames, I say.

No pity, O world, no tender utterance Of benediction, and prayers stretched this way For poor Italia, baffled by mischance?

O gracious nations, give some ear to me!

You all go to your Fair, and I am one Who at the roadside of humanity Beseech your alms,--G.o.d's justice to be done.

So, prosper!

79. "Yes," of course, you answer; "we want nice houses here, not houses in Verona. What should we do with houses in Verona?" And I answer, do precisely what you do with the most expensive part of your possessions here: take pride in them--only a n.o.ble pride. You know well, when you examine your own hearts, that the greater part of the sums you spend on possessions is spent for pride. Why are your carriages nicely painted and finished outside? You don't see the outsides as you sit in them--the outsides are for other people to see. Why are your exteriors of houses so well finished, your furniture so polished and costly, but for other people to see? You are just as comfortable yourselves, writing on your old friend of a desk, with the white cloudings in his leather, and using the light of a window which is nothing but a hole in the brick wall. And all that is desirable to be done in this matter is merely to take pride in preserving great art, instead of in producing mean art; pride in the possession of precious and enduring things, a little way off, instead of slight and peris.h.i.+ng things near at hand. You know, in old English times, our kings liked to have lords.h.i.+ps and dukedoms abroad: and why should not your merchant princes like to have lords.h.i.+ps and estates abroad? Believe me, rightly understood, it would be a prouder, and in the full sense of our English word, more "respectable" thing to be lord of a palace at Verona, or of a cloister full of frescoes at Florence, than to have a file of servants dressed in the finest liveries that ever tailor st.i.tched, as long as would reach from here to Bolton:--yes, and a prouder thing to send people to travel in Italy, who would have to say every now and then, of some fair piece of art, "Ah! this was _kept_ here for us by the good people of Manchester," than to bring them travelling all the way here, exclaiming of your various art treasures, "These were _brought_ here for us, (not altogether without harm) by the good people of Manchester."

80. "Ah!" but you say, "the Art Treasures Exhibition will pay; but Veronese palaces won't." Pardon me. They _would_ pay, less directly, but far more richly. Do you suppose it is in the long run good for Manchester, or good for England, that the Continent should be in the state it is? Do you think the perpetual fear of revolution, or the perpetual repression of thought and energy that clouds and enc.u.mbers the nations of Europe, is eventually profitable for _us_? Were we any the better of the course of affairs in '48? or has the stabling of the dragoon horses in the great houses of Italy any distinct effect in the promotion of the cotton-trade? Not so. But every stake that you could hold in the stability of the Continent, and every effort that you could make to give example of English habits and principles on the Continent, and every kind deed that you could do in relieving distress and preventing despair on the Continent, would have tenfold reaction on the prosperity of England, and open and urge, in a thousand unforeseen directions, the sluices of commerce and the springs of industry.

81. I could press, if I chose, both these motives upon you, of pride and self-interest, with more force, but these are not motives which ought to be urged upon you at all. The only motive that I ought to put before you is simply that it would be right to do this; that the holding of property abroad, and the personal efforts of Englishmen to redeem the condition of foreign nations, are among the most direct pieces of duty which our wealth renders inc.u.mbent upon us. I do not--and in all truth and deliberateness I say this--I do not know anything more ludicrous among the self-deceptions of well-meaning people than their notion of patriotism, as requiring them to limit their efforts to the good of their own country;--the notion that charity is a geographical virtue, and that what it is holy and righteous to do for people on one bank of a river, it is quite improper and unnatural to do for people on the other.

It will be a wonderful thing, some day or other, for the Christian world to remember, that it went on thinking for two thousand years that neighbours were neighbours at Jerusalem, but not at Jericho; a wonderful thing for us English to reflect, in after-years, how long it was before we could shake hands with anybody across that shallow salt wash, which the very chalk-dust of its two sh.o.r.es whitens from Folkestone to Ambleteuse.

82. Nor ought the motive of grat.i.tude, as well as that of mercy, to be without its influence on you, who have been the first to ask to see, and the first to show to us, the treasures which this poor lost Italy has given to England. Remember, all these things that delight you here were hers--hers either in fact or in teaching; hers, in fact, are all the most powerful and most touching paintings of old time that now glow upon your walls; hers in teaching are all the best and greatest of descendant souls--your Reynolds and your Gainsborough never could have painted but for Venice; and the energies which have given the only true life to your existing art were first stirred by voices of the dead that haunted the Sacred Field of Pisa.