The Eagle's Nest. Ruskin John

to-day I too summarily dismissed the arts of construction and action. But it was not in disrespect to them; and I must indeed ask you carefully to note one or two points respecting the arts of which an example is set us by birds;—building, and singing.

      The other day, as I was calling on the ornithologist whose collection of birds is, I suppose, altogether unrivalled in Europe,—(at once a monument of unwearied love of science, and an example, in its treatment, of the most delicate and patient art)—Mr. Gould—he showed me the nest of a common English bird; a nest which, notwithstanding his knowledge of the dexterous building of birds in all the world, was not without interest even to him, and was altogether amazing and delightful to me. It was a bullfinch’s nest, which had been set in the fork of a sapling tree, where it needed an extended foundation. And the bird had built this first story of her nest with withered stalks of clematis blossom; and with nothing else. These twigs it had interwoven lightly, leaving the branched heads all at the outside, producing an intricate Gothic boss of extreme grace and quaintness, apparently arranged both with triumphant pleasure in the art of basket-making, and with definite purpose of obtaining ornamental form.

      49. I fear there is no occasion to tell you that the bird had no purpose of the kind. I say that I fear this, because I would much rather have to undeceive you in attributing too much intellect to the lower animals, than too little. But I suppose the only error which, in the present condition of natural history, you are likely to fall into, is that of supposing that a bullfinch is merely a mechanical arrangement of nervous fibre, covered with feathers by a chronic cutaneous eruption; and impelled by a galvanic stimulus to the collection of clematis.

      50. You would be in much greater, as well as in a more shameful, error, in supposing this, than if you attributed to the bullfinch the most deliberate rivalship with Mr. Street’s prettiest Gothic designs. The bird has exactly the degree of emotion, the extent of science, and the command of art, which are necessary for its happiness; it had felt the clematis twigs to be lighter and tougher than any others within its reach, and probably found the forked branches of them convenient for reticulation. It had naturally placed these outside, because it wanted a smooth surface for the bottom of its nest; and the beauty of the result was much more dependent on the blossoms than the bird.

      51. Nevertheless, I am sure that if you had seen the nest,—much more, if you had stood beside the architect at work upon it,—you would have greatly desired to express your admiration to her; and chat if Wordsworth, or any other simple and kindly person, could even wish, for a little flower’s sake,

      “That to this mountain daisy’s self were known

       The beauty of its star-shaped shadow, thrown

       On the smooth surface of this naked stone,”

      much more you would have yearned to inform the bright little nest-builder of your sympathy; and to explain to her, on art principles, what a pretty thing she was making.

      52. Does it never occur to you, then, that to some of the best and wisest artists among ourselves, it may not be always possible to explain what pretty things they are making; and that, perhaps, the very perfection of their art is in their knowing so little about it?

      Whether it has occurred to you or not, I assure you that it is so. The greatest artists, indeed, will condescend, occasionally, to be scientific;—will labour, somewhat systematically, about what they are doing, as vulgar persons do; and are privileged, also, to enjoy what they have made more than birds do; yet seldom, observe you, as being beautiful, but very much in the sort of feeling which we may fancy the bullfinch had also,—that the thing, whether pretty or ugly, could not have been better done; that they could not have made it otherwise, and are thankful it is no worse. And, assuredly, they have nothing like the delight in their own work which it gives to other people.

      53. But putting the special simplicities of good artists out of question, let me ask you, in the second place, whether it is not possible that the same sort of simplicity might be desirable in the whole race of mankind; and that we ought all to be doing human work which would appear better done to creatures much above us, than it does to ourselves. Why should not our nests be as interesting things to angels, as bullfinches’ nests are to us?

      You will, probably, both smile at, and shrink from, such a supposition, as an insolent one. But to my thought, it seems, on the contrary, the only modest one. That we should be able to admire the work of angels seems to me the impertinent idea; not, at all, that they should be able to admire ours.

      54. Under existing circumstances, I confess the difficulty. It cannot be imagined that either the back streets of our manufacturing towns, or the designs of our suburban villas, are things which the angels desire to look into: but it seems to me an inevitable logical conclusion that if we are, indeed, the highest of the brute creation, we should, at least, possess as much unconscious art as the lower brutes; and build nests which shall be, for ourselves, entirely convenient; and may, perhaps, in the eyes of superior beings, appear more beautiful than to our own.

      55. “Which shall be, for ourselves, entirely convenient.” Note the word;—becoming, decorous, harmonious, satisfying. We may not be able to build anything sublime; but, at all events, we should, like other flesh-invested creatures, be able to contrive what was decent, and it should be a human privilege to think that we may be admired in heaven for our contrivance.

      I have some difficulty in proceeding with what I want to say, because I know you must partly think I am jesting with you. I feel indeed some disposition to smile myself; not because I jest, but in the sense of contrast between what, logically, it seems, ought to be; and what we must confess, not jestingly, to be the facts. How great also,—how quaint, the confusion of sentiment in our minds, as to this matter! We continually talk of honouring God with our buildings; and yet, we dare not say, boldly, that, in His sight, we in the least expect to honour ourselves by them! And admitting, though I by no means feel disposed to admit, that here and there we may, at present, be honouring Him by work that is worthy of the nature He gave us, in how many places, think you, are we offending Him by work that is disgraceful to it?

      56. Let me return, yet for an instant, to my bird and her nest. If not actually complacent and exultant in her architecture, we may at least imagine that she, and her mate, and the choir they join with, cannot but be complacent and exultant in their song. I gave you, in a former lecture, the skylark as a type of mastership in music; and remembering—some of you, I suppose, are not likely soon to forget,—the saint to whom yesterday was dedicated, let me read to you to-day some of the prettiest English words in which our natural feeling about such song is expressed.

      “And anone, as I the day espide,

      No lenger would I in my bed abide,

      But unto a wood that was fast by,

      1

      The proper titles of these lectures, too long for page-headings, are given in the Contents.

      2

      Educational Series, No. 8, E.