On the Old Road Vol. 1 (of 2). Ruskin John

capable of rest; withdrawing himself into the memories of his useful and benevolent life, and making it truly a holiday in its honored evening. The idea then occurred to him (and it was now my turn to press with hearty sympathy the sometimes intermitted task) of writing these Reminiscences: valuable—valuable to whom, and for what, I begin to wonder.

      15. For indeed these memories are of people who are passed away like the snow in harvest; and now, with the sharp-sickle reapers of full shocks of the fattening wheat of metaphysics, and fair novelists Ruth-like in the fields of barley, or more mischievously coming through the rye,—what will the public, so vigorously sustained by these, care to hear of the lovely writers of old days, quaint creatures that they were?—Merry Miss Mitford, actually living in the country, actually walking in it, loving it, and finding history enough in the life of the butcher's boy, and romance enough in the story of the miller's daughter, to occupy all her mind with, innocent of troubles concerning the Turkish question; steady-going old Barham, confessing nobody but the Jackdaw of Rheims, and fearless alike of Ritualism, Darwinism, or disestablishment; iridescent clearness of Thomas Hood—the wildest, deepest infinity of marvelously jestful men; manly and rational Sydney, inevitable, infallible, inoffensively wise of wit;3—they are gone their way, and ours is far diverse; and they and all the less-known, yet pleasantly and brightly endowed spirits of that time, are suddenly as unintelligible to us as the Etruscans—not a feeling they had that we can share in; and these pictures of them will be to us valuable only as the sculpture under the niches far in the shade there of the old parish church, dimly vital images of inconceivable creatures whom we shall never see the like of more.

      ART.

      I.

      "THE HISTORY OF CHRISTIAN ART." 4

      BY LORD LINDSAY

      16. There is, perhaps, no phenomenon connected with the history of the first half of the nineteenth century, which will become a subject of more curious investigation in after ages, than the coincident development of the Critical faculty, and extinction of the Arts of Design. Our mechanical energies, vast though they be, are not singular nor characteristic; such, and so great, have before been manifested—and it may perhaps be recorded of us with wonder rather than respect, that we pierced mountains and excavated valleys, only to emulate the activity of the gnat and the swiftness of the swallow. Our discoveries in science, however accelerated or comprehensive, are but the necessary development of the more wonderful reachings into vacancy of past centuries; and they who struck the piles of the bridge of Chaos will arrest the eyes of Futurity rather than we builders of its towers and gates—theirs the authority of Light, ours but the ordering of courses to the Sun and Moon.

      17. But the Negative character of the age is distinctive. There has not before appeared a race like that of civilized Europe at this day, thoughtfully unproductive of all art—ambitious—industrious—investigative—reflective, and incapable. Disdained by the savage, or scattered by the soldier, dishonored by the voluptuary, or forbidden by the fanatic, the arts have not, till now, been extinguished by analysis and paralyzed by protection. Our lecturers, learned in history, exhibit the descents of excellence from school to school, and clear from doubt the pedigrees of powers which they cannot re-establish, and of virtues no more to be revived: the scholar is early acquainted with every department of the Impossible, and expresses in proper terms his sense of the deficiencies of Titian and the errors of Michael Angelo: the metaphysician weaves from field to field his analogies of gossamer, which shake and glitter fairly in the sun, but must be torn asunder by the first plow that passes: geometry measures out, by line and rule, the light which is to illustrate heroism, and the shadow which should veil distress; and anatomy counts muscles, and systematizes motion, in the wrestling of Genius with its angel. Nor is ingenuity wanting—nor patience; apprehension was never more ready, nor execution more exact—yet nothing is of us, or in us, accomplished;—the treasures of our wealth and will are spent in vain—our cares are as clouds without water—our creations fruitless and perishable; the succeeding Age will trample "sopra lor vanita che par persona," and point wonderingly back to the strange colorless tessera in the mosaic of human mind.

      18. No previous example can be shown, in the career of nations not altogether nomad or barbarous, of so total an absence of invention,—of any material representation of the mind's inward yearning and desire, seen, as soon as shaped, to be, though imperfect, in its essence good, and worthy to be rested in with contentment, and consisting self-approval—the Sabbath of contemplation which confesses and confirms the majesty of a style. All but ourselves have had this in measure; the Imagination has stirred herself in proportion to the requirements, capacity, and energy of each race: reckless or pensive, soaring or frivolous, still she has had life and influence; sometimes aiming at Heaven with brick for stone and slime for mortar—anon bound down to painting of porcelain, and carving of ivory, but always with an inward consciousness of power which might indeed be palsied or imprisoned, but not in operation vain. Altars have been rent, many—ashes poured out,—hands withered—but we alone have worshiped, and received no answer—the pieces left in order upon the wood, and our names writ in the water that runs roundabout the trench.

      19. It is easier to conceive than to enumerate the many circumstances which are herein against us, necessarily, and exclusive of all that wisdom might avoid, or resolution vanquish. First, the weight of mere numbers, among whom ease of communication rather renders opposition of judgment fatal, than agreement probable; looking from England to Attica, or from Germany to Tuscany, we may remember to what good purpose it was said that the magnetism of iron was found not in bars, but in needles. Together with this adversity of number comes the likelihood of many among the more available intellects being held back and belated in the crowd, or else prematurely outwearied; for it now needs both curious fortune and vigorous effort to give to any, even the greatest, such early positions of eminence and audience as may feed their force with advantage; so that men spend their strength in opening circles, and crying for place, and only come to speech of us with broken voices and shortened time. Then follows the diminution of importance in peculiar places and public edifices, as they engage national affection or vanity; no single city can now take such queenly lead as that the pride of the whole body of the people shall be involved in adorning her; the buildings of London or Munich are not charged with the fullness of the national heart as were the domes of Pisa and Florence:—their credit or shame is metropolitan, not acropolitan; central at the best, not dominant; and this is one of the chief modes in which the cessation of superstition, so far as it has taken place, has been of evil consequence to art, that the observance of local sanctities being abolished, meanness and mistake are anywhere allowed of, and the thoughts and wealth which were devoted and expended to good purpose in one place, are now distracted and scattered to utter unavailableness.

      20. In proportion to the increasing spirituality of religion, the conception of worthiness in material offering ceases, and with it the sense of beauty in the evidence of votive labor; machine-work is substituted for handwork, as if the value of ornament consisted in the mere multiplication of agreeable forms, instead of in the evidence of human care and thought and love about the separate stones; and—machine-work once tolerated—the eye itself soon loses its sense of this very evidence, and no more perceives the difference between the blind accuracy of the engine, and the bright, strange play of the living stroke—a difference as great as between the form of a stone pillar and a springing fountain. And on this blindness follow all errors and abuses—hollowness and slightness of framework, speciousness of surface ornament, concealed structure, imitated materials, and types of form borrowed from things noble for things base; and all these abuses must be resisted with the more caution, and less success, because in many ways they are signs or consequences of improvement, and are associated both with purer forms of religious feeling and with more general diffusion of refinements and comforts; and especially because we are critically aware of all our deficiencies, too cognizant of all that is greatest to pass willingly and humbly through the stages that rise to it, and oppressed in every honest effort by the bitter sense of inferiority. In every previous development the power has been in advance of the consciousness, the resources more abundant than the knowledge—the energy irresistible, the discipline imperfect. The light that led was narrow and dim—streakings

3

In the "Life and Times of Sydney Smith," by Stuart J. Reid (London, 1884, p. 374), appears a letter addressed to the author by Mr. Ruskin, to whom the book is dedicated:—

"Oxford, Nov. 15th, 1883.

"My Dear Sir,—I wanted to tell you what deep respect I had for Sydney Smith; but my time has been cut to pieces ever since your note reached me. He was the first in the literary circles of London to assert the value of 'Modern Painters,' and he has always seemed to me equally keen-sighted and generous in his estimate of literary efforts. His 'Moral Philosophy' is the only book on the subject which I care that my pupils should read, and there is no man (whom I have not personally known) whose image is so vivid in my constant affection.—Ever your faithful servant,

"John Ruskin."—[Ed.]

4

This essay is a review of two books by Lord Lindsay, viz., "Progression by Antagonism," published in 1846, and the "Sketches of the History of Christian Art," which appeared in the following year. It is, with the paper on Sir C. Eastlake's "History of Oil Painting," one of the very few anonymous writings of its author. "I never felt at ease" (says Mr. Ruskin, in speaking of anonymous criticism) "in my graduate incognito, and although I consented, some nine years ago, to review Lord Lindsay's 'Christian Art,' and Sir Charles Eastlake's 'Essay on Oil Painting,' in the Quarterly, I have ever since steadily refused to write even for that once respectable periodical" ("Academy Notes," No. II., 1856). For Mr. Ruskin's estimate of Lord Lindsay's work, see the "Eagle's Nest," § 46, and "Val d'Arno," § 264, where he speaks of him as his "first master in Italian art."—[Ed.]