Ariadne Florentina: Six Lectures on Wood and Metal Engraving. John Ruskin

the second true Athenian, like Athena's first statue in olive-wood, making the law legible and homely; and the third true Vulcanian, having the splendor and power of accomplished labor.

      Now of stone engraving, which is joined inseparably with sculpture and architecture, I am not going to speak at length in this course of lectures. I shall speak only of wood and metal engraving. But there is one circumstance in stone engraving which it is necessary to observe in connection with the other two branches of the art.

      The great difficulty for a primitive engraver is to make his scratch deep enough to be visible. Visibility is quite as essential to your fame as permanence; and if you have only your furrow to depend on, the engraved tablet, at certain times of day, will be illegible, and passed without notice.

      But suppose you fill in your furrow with something black, then it will be legible enough at once; and if the black fall out or wash out, still your furrow is there, and may be filled again by anybody.

      Therefore, the noble stone engravers, using marble to receive their furrow, fill that furrow with marble ink.

      And you have an engraved plate to purpose;—with the whole sky for its margin! Look here—the front of the church of San Michele of Lucca—white marble with green serpentine for ink; or here—the steps of the Giant's Stair, with lead for ink; or here—the floor of the Pisan Duomo, with porphyry for ink. Such cutting, filled in with color or with black, branches into all sorts of developments—Florentine mosaic on the one hand, niello on the other, and infinite minor arts.

      36. Yet we must not make this filling with color part of our definition of engraving. To engrave is, in final strictness, "to decorate a surface with furrows." (Cameos, in accuratest terms, are minute sculptures, not engravings.) A plowed field is the purest type of such art; and is, on hilly land, an exquisite piece of decoration.

      Therefore it will follow that engraving distinguishes itself from ordinary drawing by greater need of muscular effort.

      The quality of a pen drawing is to be produced easily—deliberately, always,[C] but with a point that glides over the paper. Engraving, on the contrary, requires always force, and its virtue is that of a line produced by pressure, or by blows of a chisel.

      It involves, therefore, always, ideas of power and dexterity, but also of restraint; and the delight you take in it should involve the understanding of the difficulty the workman dealt with. You perhaps doubt the extent to which this feeling justly extends, (in the first volume of "Modern Painters," expressed under the head "Ideas of Power.") But why is a large stone in any building grander than a small one? Simply because it was more difficult to raise it. So, also, an engraved line is, and ought to be, recognized as more grand than a pen or pencil line, because it was more difficult to execute it.

      In this mosaic of Lucca front you forgive much, and admire much, because you see it is all cut in stone. So, in wood and steel, you ought to see that every line has been costly; but observe, costly of deliberative, no less than athletic or executive power. The main use of the restraint which makes the line difficult to draw, is to give time and motive for deliberation in drawing it, and to insure its being the best in your power.

      37. For, as with deliberation, so without repentance, your engraved line must be. It may, indeed, be burnished or beaten out again in metal, or patched and botched in stone; but always to disadvantage, and at pains which must not be incurred often. And there is a singular evidence in one of Dürer's finest plates that, in his time, or at least in his manner of work, it was not possible at all. Among the disputes as to the meaning of Dürer's Knight and Death, you will find it sometimes suggested, or insisted, that the horse's raised foot is going to fall into a snare. What has been fancied a noose is only the former outline of the horse's foot and limb, uneffaced.

      The engraved line is therefore to be conclusive; not experimental. "I have determined this," says the engraver. Much excellent pen drawing is excellent in being tentative—in being experimental. Indeterminate, not through want of meaning, but through fullness of it—halting wisely between two opinions—feeling cautiously after clearer opinions. But your engraver has made up his opinion. This is so, and must forever be so, he tells you. A very proper thing for a thoughtful man to say; a very improper and impertinent thing for a foolish one to say. Foolish engraving is consummately foolish work. Look—all the world—look for evermore, says the foolish engraver; see what a fool I have been! How many lines I have laid for nothing! How many lines upon lines, with no precept, much less superprecept!

      38. Here, then, are two definite ethical characters in all engraved work. It is Athletic; and it is Resolute. Add one more; that it is Obedient;—in their infancy the nurse, but in their youth the slave, of the higher arts; servile, both in the mechanism and labor of it, and in its function of interpreting the schools of painting as superior to itself.

      And this relation to the higher arts we will study at the source of chief power in all the normal skill of Christendom, Florence; and chiefly, as I said, in the work of one Florentine master, Sandro Botticelli.