A Joy For Ever (and Its Price in the Market). John Ruskin

him out as he lies nugget-fashion in the mountain-stream; you bring him home; and you make him into current coin, or household plate, but not one grain of him can you originally produce. A certain quantity of art-intellect is born annually in every nation, greater or less according to the nature and cultivation of the nation, or race of men; but a perfectly fixed quantity annually, not increasable by one grain. You may lose it, or you may gather it; you may let it lie loose in the ravine, and buried in the sands, or you may make kings' thrones of it, and overlay temple gates with it, as you choose: but the best you can do with it is always merely sifting, melting, hammering, purifying—never creating.

      21. And there is another thing notable about this artistical gold; not only is it limited in quantity, but in use. You need not make thrones or golden gates with it unless you like, but assuredly you can't do anything else with it. You can't make knives of it, nor armour, nor railroads. The gold won't cut you, and it won't carry you: put it to a mechanical use, and you destroy it at once. It is quite true that in the greatest artists, their proper artistical faculty is united with every other; and you may make use of the other faculties, and let the artistical one lie dormant. For aught I know, there may be two or three Leonardo da Vincis employed at this moment in your harbours and railroads: but you are not employing their Leonardesque or golden faculty there—you are only oppressing and destroying it. And the artistical gift in average men is not joined with others: your born painter, if you don't make a painter of him, won't be a first-rate merchant, or lawyer; at all events, whatever he turns out, his own special gift is unemployed by you; and in no wise helps him in that other business. So here you have a certain quantity of a particular sort of intelligence, produced for you annually by providential laws, which you can only make use of by setting it to its own proper work, and which any attempt to use otherwise involves the dead loss of so much human energy.

      22. Well then, supposing we wish to employ it, how is it to be best discovered and refined? It is easily enough discovered. To wish to employ it is to discover it. All that you need is, a school of trial[4] in every important town, in which those idle farmers' lads whom their masters never can keep out of mischief, and those stupid tailors' 'prentices who are always stitching the sleeves in wrong way upwards, may have a try at this other trade; only this school of trial must not be entirely regulated by formal laws of art education, but must ultimately be the workshop of a good master painter, who will try the lads with one kind of art and another, till he finds out what they are fit for.

      23. Next, after your trial school, you want your easy and secure employment, which is the matter of chief importance. For, even on the present system, the boys who have really intense art capacity, generally make painters of themselves; but then, the best half of their early energy is lost in the battle of life. Before a good painter can get employment, his mind has always been embittered, and his genius distorted. A common mind usually stoops, in plastic chill, to whatever is asked of it, and scrapes or daubs its way complacently into public favour.[5] But your great men quarrel with you, and you revenge yourselves by starving them for the first half of their lives. Precisely in the degree in which any painter possesses original genius, is at present the increase of moral certainty that during his early years he will have a hard battle to fight; and that just at the time when his conceptions ought to be full and happy, his temper gentle, and his hopes enthusiastic—just at that most critical period, his heart is full of anxieties and household cares; he is chilled by disappointments, and vexed by injustice; he becomes obstinate in his errors, no less than in his virtues, and the arrows of his aims are blunted, as the reeds of his trust are broken.

      24. What we mainly want, therefore, is a means of sufficient and unagitated employment: not holding out great prizes for which young painters are to scramble; but furnishing all with adequate support, and opportunity to display such power as they possess without rejection or mortification. I need not say that the best field of labour of this kind would be presented by the constant progress of public works involving various decoration; and we will presently examine what kind of public works may thus, advantageously for the nation, be in constant progress. But a more important matter even than this of steady employment, is the kind of criticism with which you, the public, receive the works of the young men submitted to you. You may do much harm by indiscreet praise and by indiscreet blame; but remember the chief harm is always done by blame. It stands to reason that a young man's work cannot be perfect. It must be more or less ignorant; it must be more or less feeble; it is likely that it may be more or less experimental, and if experimental, here and there mistaken. If, therefore, you allow yourself to launch out into sudden barking at the first faults you see, the probability is that you are abusing the youth for some defect naturally and inevitably belonging to that stage of his progress; and that you might just as rationally find fault with a child for not being as prudent as a privy councillor, or with a kitten for not being as grave as a cat.

      25. But there is one fault which you may be quite sure is unnecessary, and therefore a real and blamable fault: that is haste, involving negligence. Whenever you see that a young man's work is either bold or slovenly, then you may attack it firmly; sure of being right. If his work is bold, it is insolent; repress his insolence: if it is slovenly, it is indolent; spur his indolence. So long as he works in that dashing or impetuous way, the best hope for him is in your contempt: and it is only by the fact of his seeming not to seek your approbation that you may conjecture he deserves it.

      26. But if he does deserve it, be sure that you give it him, else you not only run a chance of driving him from the right road by want of encouragement, but you deprive yourselves of the happiest privilege you will ever have of rewarding his labour. For it is only the young who can receive much reward from men's praise: the old, when they are great, get too far beyond and above you to care what you think of them. You may urge them then with sympathy, and surround them then with acclamation; but they will doubt your pleasure, and despise your praise. You might have cheered them in their race through the asphodel meadows of their youth; you might have brought the proud, bright scarlet into their faces, if you had but cried once to them "Well done," as they dashed up to the first goal of their early ambition. But now, their pleasure is in memory, and their ambition is in heaven. They can be kind to you, but you nevermore can be kind to them. You may be fed with the fruit and fulness of their old age, but you were as the nipping blight to them in their blossoming, and your praise is only as the warm winds of autumn to the dying branches.

      27. There is one thought still, the saddest of all, bearing on this withholding of early help. It is possible, in some noble natures, that the warmth and the affections of childhood may remain unchilled, though unanswered; and that the old man's heart may still be capable of gladness, when the long-withheld sympathy is given at last. But in these noble natures it nearly always happens that the chief motive of earthly ambition has not been to give delight to themselves, but to their parents. Every noble youth looks back, as to the chiefest joy which this world's honour ever gave him, to the moment when first he saw his father's eyes flash with pride, and his mother turn away her head, lest he should take her tears for tears of sorrow. Even the lover's joy, when some worthiness of his is acknowledged before his mistress, is not so great as that, for it is not so pure—the desire to exalt himself in her eyes mixes with that of giving her delight; but he does not need to exalt himself in his parents' eyes: it is with the pure hope of giving them pleasure that he comes to tell them what he has done, or what has been said of him; and therefore he has a purer pleasure of his own. And this purest and best of rewards you keep from him if you can: you feed him in his tender youth with ashes and dishonour; and then you come to him, obsequious, but too late, with your sharp laurel crown, the dew all dried from off its leaves; and you thrust it into his languid hand, and he looks at you wistfully. What shall he do with it? What can he do, but go and lay it on his mother's grave?

      28. Thus, then, you see that you have to provide for your young men: first, the searching or discovering school; then the calm employment; then the justice of praise: one thing more you have to do for them in preparing them for full service—namely, to make, in the noble sense of the word, gentlemen of them; that is to say, to take care that their minds receive such training, that in all they paint they shall see and feel the noblest things. I am sorry to say, that of all parts of an artist's education, this is the most neglected among us; and that even where the natural taste and feeling of the youth have been pure and true, where there was the right stuff in him to make a gentleman of, you may too frequently