Part 26 (1/2)

_December, 1870._

143. On previous occasions of addressing you, I have endeavoured to show you, first, how sculpture is distinguished from other arts; then its proper subjects, then its proper method in the realization of these subjects. To-day, we must, in the fourth place, consider the means at its command for the accomplishment of these ends; the nature of its materials; and the mechanical or other difficulties of their treatment.

And however doubtful we may have remained, as to the justice of Greek ideals, or propriety of Greek methods of representing them, we may be certain that the example of the Greeks will be instructive in all practical matters relating to this great art, peculiarly their own. I think even the evidence I have already laid before you is enough to convince you, that it was by rightness and reality, not by idealism or delightfulness only, that their minds were finally guided; and I am sure that, before closing the present course, I shall be able so far to complete that evidence, as to prove to you that the commonly received notions of cla.s.sic art are, not only unfounded, but even in many respects, directly contrary to the truth. You are constantly told that Greece idealized whatever she contemplated. She did the exact contrary: she realized and verified it. You are constantly told she sought only the beautiful. She sought, indeed, with all her heart; but she found, because she never doubted that the search was to be consistent with propriety and common sense. And the first thing you will always discern in Greek work is the first which you _ought_ to discern in all work; namely, that the object of it has been rational, and has been obtained by simple and unostentatious means.

144. ”That the object of the work has been rational!” Consider how much that implies. That it should be by all means seen to have been determined upon, and carried through, with sense and discretion; these being gifts of intellect far more precious than any knowledge of mathematics, or of the mechanical resources of art. Therefore, also, that it should be a modest and temperate work, a structure fitted to the actual state of men; proportioned to their actual size, as animals,--to their average strength,--to their true necessities,--and to the degree of easy command they have over the forces and substances of nature.

145. You see how much this law excludes! All that is fondly magnificent, insolently ambitious, or vainly difficult. There is, indeed, such a thing as Magnanimity in design, but never unless it be joined also with modesty and _Equ_animity. Nothing extravagant, monstrous, strained, or singular, can be structurally beautiful. No towers of Babel envious of the skies; no pyramids in mimicry of the mountains of the earth; no streets that are a weariness to traverse, nor temples that make pigmies of the wors.h.i.+ppers.

It is one of the primal merits and decencies of Greek work that it was, on the whole, singularly small in scale, and wholly within reach of sight, to its finest details. And, indeed, the best buildings that I know are thus modest; and some of the best are minute jewel cases for sweet sculpture. The Parthenon would hardly attract notice, if it were set by the Charing Cross Railway Station: the Church of the Miracoli, at Venice, the Chapel of the Rose, at Lucca, and the Chapel of the Thorn, at Pisa, would not, I suppose, all three together, fill the tenth part, cube, of a transept of the Crystal Palace. And they are better so.

146. In the chapter on Power in the ”Seven Lamps of Architecture,” I have stated what seems, at first, the reverse of what I am saying now; namely, that it is better to have one grand building than any number of mean ones. And that is true, but you cannot command grandeur by size till you can command grace in minuteness; and least of all, remember, will you so command it to-day, when magnitude has become the chief exponent of folly and misery, co-ordinate in the fraternal enormities of the Factory and Poorhouse,--the Barracks and Hospital. And the final law in this matter is, that if you require edifices only for the grace and health of mankind, and build them without pretence and without chicanery, they will be sublime on a modest scale, and lovely with little decoration.

147. From these principles of simplicity and temperance, two very severely fixed laws of construction follow; namely, first, that our structure, to be beautiful, must be produced with tools of men; and secondly, that it must be composed of natural substances. First, I say, produced with tools of men. All fine art requires the application of the whole strength and subtlety of the body, so that such art is not possible to any sickly person, but involves the action and force of a strong man's arm from the shoulder, as well as the delicatest touch of his finger: and it is the evidence that this full and fine strength has been spent on it which makes the art executively n.o.ble; so that no instrument must be used, habitually, which is either too heavy to be delicately restrained, or too small and weak to transmit a vigorous impulse; much less any mechanical aid, such as would render the sensibility of the fingers ineffectual.[126]

148. Of course, any kind of work in gla.s.s, or in metal, on a large scale, involves some painful endurance of heat; and working in clay, some habitual endurance of cold; but the point beyond which the effort must not be carried is marked by loss of power of manipulation. As long as the eyes and fingers have complete command of the material (as a gla.s.s blower has, for instance, in doing fine ornamental work)--the law is not violated; but all our great engine and furnace work, in gun-making and the like, is degrading to the intellect; and no nation can long persist in it without losing many of its human faculties. Nay, even the use of machinery, other than the common rope and pully, for the lifting of weights, is degrading to architecture; the invention of expedients for the raising of enormous stones has always been a characteristic of partly savage or corrupted races. A block of marble not larger than a cart with a couple of oxen could carry, and a cross-beam, with a couple of pulleys, raise, is as large as should generally be used in any building. The employment of large ma.s.ses is sure to lead to vulgar exhibitions of geometrical arrangement,[127] and to draw away the attention from the sculpture. In general, rocks naturally break into such pieces as the human beings that have to build with them can easily lift, and no larger should be sought for.

149. In this respect, and in many other subtle ways, the law that the work is to be with tools of men is connected with the farther condition of its modesty, that it is to be wrought in substance provided by Nature, and to have a faithful respect to all the essential qualities of such substance.

And here I must ask your attention to the idea, and, more than idea,--the fact, involved in that infinitely misused term, ”Providentia,” when applied to the Divine Power. In its truest sense and scholarly use, it is a human virtue, [Greek: Prometheia]; the personal type of it is in Prometheus, and all the first power of [Greek: techne], is from him, as compared to the weakness of days when men without foresight ”[Greek: ephyron eike panta].” But, so far as we use the word ”Providence” as an attribute of the Maker and Giver of all things, it does not mean that in a s.h.i.+pwreck He takes care of the pa.s.sengers who are to be saved and takes none of those who are to be drowned; but it _does_ mean that every race of creatures is born into the world under circ.u.mstances of approximate adaptation to its necessities; and, beyond all others, the ingenious and observant race of man is surrounded with elements naturally good for his food, pleasant to his sight, and suitable for the subjects of his ingenuity;--the stone, metal, and clay of the earth he walks upon lending themselves at once to his hand, for all manner of workmans.h.i.+p.

150. Thus, his truest respect for the law of the entire creation is shown by his making the most of what he can get most easily; and there is no virtue of art, nor application of common sense, more sacredly necessary than this respect to the beauty of natural substance, and the ease of local use; neither are there any other precepts of construction so vital as these--that you show all the strength of your material, tempt none of its weaknesses, and do with it only what can be simply and permanently done.

151. Thus, all good building will be with rocks, or pebbles, or burnt clay, but with no artificial compound; all good painting, with common oils and pigments on common canvas, paper, plaster, or wood,--admitting, sometimes for precious work, precious things, but all applied in a simple and visible way. The highest imitative art should not, indeed, at first sight, call attention to the means of it; but even that, at length, should do so distinctly, and provoke the observer to take pleasure in seeing how completely the workman is master of the particular material he has used, and how beautiful and desirable a substance it was, for work of that kind. In oil painting its unctious quality is to be delighted in; in fresco, its chalky quality; in gla.s.s, its transparency; in wood, its grain; in marble, its softness; in porphyry, its hardness; in iron, its toughness. In a flint country, one should feel the delightfulness of having flints to pick up, and fasten together into rugged walls. In a marble country one should be always more and more astonished at the exquisite colour and structure of marble; in a slate country one should feel as if every rock cleft itself only for the sake of being built with conveniently.

[Ill.u.s.tration: PLATE X.--MARBLE MASONRY IN THE DUOMO OF VERONA.]

152. Now, for sculpture, there are, briefly, two materials--Clay, and Stone; for gla.s.s is only a clay that gets clear and brittle as it cools, and metal a clay that gets opaque and tough as it cools. Indeed, the true use of gold in this world is only as a very pretty and very ductile clay, which you can spread as flat as you like, spin as fine as you like, and which will neither crack, nor tarnish.

All the arts of sculpture in clay may be summed up under the word ”Plastic,” and all of those in stone, under the word ”Glyptic.”

153. Sculpture in clay will accordingly include all cast brick-work, pottery, and tile-work[128]--a somewhat important branch of human skill.

Next to the potter's work, you have all the arts in porcelain, gla.s.s, enamel, and metal; everything, that is to say, playful and familiar in design, much of what is most felicitously inventive, and, in bronze or gold, most precious and permanent.

154. Sculpture in stone, whether granite, gem, or marble, while we accurately use the general term ”glyptic” for it, may be thought of with, perhaps, the most clear force under the English word ”engraving.”

For, from the mere angular incision which the Greek consecrated in the triglyphs of his greatest order of architecture, grow forth all the arts of bas-relief, and methods of localized groups of sculpture connected with each other and with architecture: as, in another direction, the arts of engraving and wood-cutting themselves.

155. Over all this vast field of human skill the laws which I have enunciated to you rule with inevitable authority, embracing the greatest, and consenting to the humblest, exertion; strong to repress the ambition of nations, if fantastic and vain, but gentle to approve the efforts of children, made in accordance with the visible intention of the Maker of all flesh, and the Giver of all Intelligence. These laws, therefore, I now repeat, and beg of you to observe them as irrefragable.

1. That the work is to be with tools of men.

2. That it is to be in natural materials.

3. That it is to exhibit the virtues of those materials, and aim at no quality inconsistent with them.

4. That its temper is to be quiet and gentle, in harmony with common needs, and in consent to common intelligence.

We will now observe the bearing of these laws on the elementary conditions of the art at present under discussion.

156. There is, first, work in baked clay, which contracts as it dries, and is very easily frangible. Then you must put no work into it requiring niceness in dimension, nor any so elaborate that it would be a great loss if it were broken, but as the clay yields at once to the hand, and the sculptor can do anything with it he likes, it is a material for him to sketch with and play with,--to record his fancies in, before they escape him--and to express roughly, for people who can enjoy such sketches, what he has not time to complete in marble. The clay, being ductile, lends itself to all softness of line; being easily frangible, it would be ridiculous to give it sharp edges, so that a blunt and ma.s.sive rendering of graceful gesture will be its natural function; but as it can be pinched, or pulled, or thrust in a moment into projection which it would take hours of chiselling to get in stone, it will also properly be used for all fantastic and grotesque form, not involving sharp edges. Therefore, what is true of chalk and charcoal, for painters, is equally true of clay, for sculptors; they are all most precious materials for true masters, but tempt the false ones into fatal license; and to judge rightly of terra-cotta work is a far higher reach of skill in sculpture-criticism than to distinguish the merits of a finished statue.