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.
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 assure 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.
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."
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,13 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 masses of the nation in their domestic life.
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 illustrate 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.
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.
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 principal 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 classes, 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 rectitude 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 coarse 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.
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.
But, observe, it is not only the painter himself whom you injure, by giving
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 re-painted should be recorded in writing.
