is to make everything that you offer helpful and precious. If you give one grain of weight too much, so as to increase fatigue without profit, or bulk without value—that added grain is hurtful; if you put one spot or one syllable out of its proper place, that spot or syllable will be destructive—how far destructive it is almost impossible to tell: a misplaced touch may sometimes annihilate the labour of hours. Nor are any of us prepared to understand the work of any great master, till we feel this, and feel it as distinctly as we do the value of arrangement in the notes of music. Take any noble musical air, and you find, on examining it, that not one even of the faintest or shortest notes can be removed without destruction to the whole passage in which it occurs; and that every note in the passage is twenty times more beautiful so introduced, than it would have been if played singly on the instrument. Precisely this degree of arrangement and relation must exist between every touch [Footnote: Literally. I know how exaggerated this statement sounds; but I mean it,—every syllable of it.—See Appendix IV.] and line in a great picture. You may consider the whole as a prolonged musical composition: its parts, as separate airs connected in the story; its little bits and fragments of colour and line, as separate passages or bars in melodies; and down to the minutest note of the whole—down to the minutest touch,—if there is one that can be spared—that one is doing mischief.
Remember therefore always, you have two characters in which all greatness of art consists:—First, the earnest and intense seizing of natural facts; then the ordering those facts by strength of human intellect, so as to make them, for all who look upon them, to the utmost serviceable, memorable, and beautiful. And thus great art is nothing else than the type of strong and noble life; for, as the ignoble person, in his dealings with all that occurs in the world about him, first sees nothing clearly,—looks nothing fairly in the face, and then allows himself to be swept away by the trampling torrent, and unescapable force, of the things that he would not foresee, and could not understand: so the noble person, looking the facts of the world full in the face, and fathoming them with deep faculty, then deals with them in unalarmed intelligence and unhurried strength, and becomes, with his human intellect and will, no unconscious nor insignificant agent, in consummating their good, and restraining their evil.
Thus in human life you have the two fields of rightful toil for ever distinguished, yet for ever associated; Truth first—plan or design, founded thereon; so in art, you have the same two fields for ever distinguished, for ever associated; Truth first—plan, or design, founded thereon.
Now hitherto there is not the least difficulty in the subject; none of you can look for a moment at any great sculptor or painter without seeing the full bearing of these principles. But a difficulty arises when you come to examine the art of a lower order, concerned with furniture and manufacture, for in that art the element of design enters without, apparently, the element of truth. You have often to obtain beauty and display invention without direct representation of nature. Yet, respecting all these things also, the principle is perfectly simple. If the designer of furniture, of cups and vases, of dress patterns, and the like, exercises himself continually in the imitation of natural form in some leading division of his work; then, holding by this stem of life, he may pass down into all kinds of merely geometrical or formal design with perfect safety, and with noble results.[Footnote: This principle, here cursorily stated, is one of the chief subjects of inquiry in the following Lectures.] Thus Giotto, being primarily a figure painter and sculptor, is, secondarily, the richest of all designers in mere mosaic of coloured bars and triangles; thus Benvenuto Cellini, being in all the higher branches of metal work a perfect imitator of nature, is in all its lower branches the best designer of curve for lips of cups and handles of vases; thus Holbein, exercised primarily in the noble art of truthful portraiture, becomes, secondarily, the most exquisite designer of embroideries of robe, and blazonries on wall; and thus Michael Angelo, exercised primarily in the drawing of body and limb, distributes in the mightiest masses the order of his pillars, and in the loftiest shadow the hollows of his dome. But once quit hold of this living stem, and set yourself to the designing of ornamentation, either in the ignorant play of your own heartless fancy, as the Indian does, or according to received application of heartless laws, as the modern European does, and there is but one word for you—Death:—death of every healthy faculty, and of every noble intelligence, incapacity of understanding one great work that man has ever done, or of doing anything that it shall be helpful for him to behold. You have cut yourselves off voluntarily, presumptuously, insolently, from the whole teaching of your Maker in His Universe; you have cut yourselves off from it, not because you were forced to mechanical labour for your bread—not because your fate had appointed you to wear away your life in walled chambers, or dig your life out of dusty furrows; but, when your whole profession, your whole occupation— all the necessities and chances of your existence, led you straight to the feet of the great Teacher, and thrust you into the treasury of His works; where you have nothing to do but to live by gazing, and to grow by wondering;—wilfully you bind up your eyes from the splendour— wilfully bind up your life-blood from its beating—wilfully turn your backs upon all the majesties of Omnipotence—wilfully snatch your hands from all the aids of love, and what can remain for you, but helplessness and blindness,—except the worse fate than the being blind yourselves—that of becoming Leaders of the blind?
Do not think that I am speaking under excited feeling, or in any exaggerated terms. I have written the words I use, that I may know what I say, and that you, if you choose, may see what I have said. For, indeed, I have set before you tonight, to the best of my power, the sum and substance of the system of art to the promulgation of which I have devoted my life hitherto, and intend to devote what of life may still be spared to me. I have had but one steady aim in all that I have ever tried to teach, namely—to declare that whatever was great in human art was the expression of man's delight in God's work.
And at this time I have endeavoured to prove to you—if you investigate the subject you may more entirely prove to yourselves—that no school ever advanced far which had not the love of natural fact as a primal energy. But it is still more important for you to be assured that the conditions of life and death in the art of nations are also the conditions of life and death in your own; and that you have it, each in his power at this very instant, to determine in which direction his steps are turning. It seems almost a terrible thing to tell you, that all here have all the power of knowing at once what hope there is for them as artists; you would, perhaps, like better that there was some unremovable doubt about the chances of the future—some possibility that you might be advancing, in unconscious ways, towards unexpected successes—some excuse or reason for going about, as students do so often, to this master or the other, asking him if they have genius, and whether they are doing right, and gathering, from his careless or formal replies, vague flashes of encouragement, or fitfulnesses of despair. There is no need for this—no excuse for it. All of you have the trial of yourselves in your own power; each may undergo at this instant, before his own judgment seat, the ordeal by fire. Ask yourselves what is the leading motive which actuates you while you are at work. I do not ask you what your leading motive is for working—that is a different thing; you may have families to support—parents to help—brides to win; you may have all these, or other such sacred and pre-eminent motives, to press the morning's labour and prompt the twilight thought. But when you are fairly at the work, what is the motive then which tells upon every touch of it? If it is the love of that which your work represents—if, being a landscape painter, it is love of hills and trees that moves you—if, being a figure painter, it is love of human beauty and human soul that moves you—if, being a flower or animal painter, it is love, and wonder, and delight in petal and in limb that move you, then the Spirit is upon you, and the earth is yours, and the fulness thereof. But if, on the other hand, it is petty self-complacency in your own skill, trust in precepts and laws, hope for academical or popular approbation, or avarice of wealth,—it is quite possible that by steady industry, or even by fortunate chance, you may win the applause, the position, the fortune, that you desire;– but one touch of true art you will never lay on canvas or on stone as long as you live.
Make, then, your choice, boldly and consciously, for one way or other it must be made. On the dark and dangerous side are set, the pride which delights in self-contemplation—the indolence which rests in unquestioned forms—the ignorance
