Part 2 (1/2)

A difficult balance, indeed, for us to hold, if it were left merely to our skill to poise; but the just point between poverty and profusion has been fixed for us accurately by the wise laws of Providence. If you carefully watch for all the genius you can detect, apply it to good service, and then reverently preserve what it produces, you will never have too little art; and if, on the other hand, you never force an artist to work hurriedly, for daily bread, nor imperfectly, because you would rather have showy works than complete ones, you will never have too much. Do not force the multiplication of art, and you will not have it too cheap; do not wantonly destroy it, and you will not have it too dear.

”But who wantonly destroys it?” you will ask. Why, we all do. Perhaps you thought, when I came to this part of our subject, corresponding to that set forth in our housewife's economy by the ”keeping her embroidery from the moth,” that I was going to tell you only how to take better care of pictures, how to clean them, and varnish them, and where to put them away safely when you went out of town. Ah, not at all. The utmost I have to ask of you is, that you will not pull them to pieces, and trample them under your feet. ”What!” you will say, ”when do we do such things? Haven't we built a perfectly beautiful gallery for all the pictures we have to take care of?” Yes, you have, for the pictures which are definitely sent to Manchester to be taken care of. But there are quant.i.ties of pictures out of Manchester which it is your business, and mine too, to take care of no less than of these, and which we are at this moment employing ourselves in pulling to pieces by deputy. I will tell you what they are, and where they are, in a minute; only first let me state one more of those main principles of political economy on which the matter hinges.

I must begin a little apparently wide of the mark, and ask you to reflect if there is any way in which we waste money more in England, than in building fine tombs? Our respect for the dead, when they are _just_ dead, is something wonderful, and the way we show it more wonderful still. We show it with black feathers and black horses; we show it with black dresses and bright heraldries; we show it with costly obelisks and sculptures of sorrow, which spoil half of our most beautiful cathedrals. We show it with frightful gratings and vaults, and lids of dismal stone, in the midst of the quiet gra.s.s; and last, and not least, we show it by permitting ourselves to tell any number of lies we think amiable or credible, in the epitaph. This feeling is common to the poor as well as the rich, and we all know how many a poor family will nearly ruin themselves, to testify their respect for some member of it in his coffin, whom they never much cared for when he was out of it; and how often it happens that a poor old woman will starve herself to death, in order that she may be respectably buried.

Now, this being one of the most complete and special ways of wasting money;--no money being less productive of good, or of any percentage whatever, than that which we shake away from the ends of undertakers'

plumes--it is of course the duty of all good economists, and kind persons, to prove and proclaim continually, to the poor as well as the rich, that respect for the dead is not really shown by laying great stones on them to tell us where they are laid; but by remembering where they are laid, without a stone to help us; trusting them to the sacred gra.s.s and saddened flowers; and still more, that respect and love are shown to them, not by great monuments to them which we build with _our_ hands, but by letting the monuments stand, which they built with _their own_. And this is the point now in question.

Observe, there are two great reciprocal duties concerning industry, constantly to be exchanged between the living and the dead. We, as we live and work, are to be always thinking of those who are to come after us; that what we do may be serviceable, as far as we can make it so, to them as well as to us. Then, when we die, it is the duty of those who come after us to accept this work of ours with thanks and remembrance, not thrusting it aside or tearing it down the moment they think they have no use for it. And each generation will only be happy or powerful to the pitch that it ought to be, in fulfilling these two duties to the Past and the Future. Its own work will never be rightly done, even for itself--never good, or n.o.ble, or pleasurable to its own eyes--if it does not prepare it also for the eyes of generations yet to come. And its own possessions will never be enough for it, and its own wisdom never enough for it, unless it avails itself gratefully and tenderly of the treasures and the wisdom bequeathed to it by its ancestors.

For, be a.s.sured, that all the best things and treasures of this world are not to be produced by each generation for itself; but we are all intended, not to carve our work in snow that will melt, but each and all of us to be continually rolling a great white gathering s...o...b..ll, higher and higher--larger and larger--along the Alps of human power.

Thus the science of nations is to be acc.u.mulative from father to son: each learning a little more and a little more; each receiving all that was known, and adding its own gain: the history and poetry of nations are to be acc.u.mulative; each generation treasuring the history and the songs of its ancestors, adding its own history and its own songs: and the art of nations is to be acc.u.mulative, just as science and history are; the work of living men not superseding, but building itself upon the work of the past. Nearly every great and intellectual race of the world has produced, at every period of its career, an art with some peculiar and precious character about it, wholly unattainable by any other race, and at any other time; and the intention of Providence concerning that art, is evidently that it should all grow together into one mighty temple; the rough stones and the smooth all finding their place, and rising, day by day, in richer and higher pinnacles to heaven.

Now, just fancy what a position the world, considered as one great workroom--one great factory in the form of a globe--would have been in by this time, if it had in the least understood this duty, or been capable of it. Fancy what we should have had around us now, if, instead of quarrelling and fighting over their work, the nations had aided each other in their work, or if even in their conquests, instead of effacing the memorials of those they succeeded and subdued, they had guarded the spoils of their victories. Fancy what Europe would be now, if the delicate statues and temples of the Greeks,--if the broad roads and ma.s.sy walls of the Romans,--if the n.o.ble and pathetic architecture of the middle ages, had not been ground to dust by mere human rage. You talk of the scythe of Time, and the tooth of Time: I tell you, Time is scytheless and toothless; it is we who gnaw like the worm--we who smite like the scythe. It is ourselves who abolish--ourselves who consume: we are the mildew, and the flame, and the soul of man is to its own work as the moth, that frets when it cannot fly, and as the hidden flame that blasts where it cannot illumine. All these lost treasures of human intellect have been wholly destroyed by human industry of destruction; the marble would have stood its two thousand years as well in the polished statue as in the Parian cliff; but we men have ground it to powder, and mixed it with our own ashes. The walls and the ways would have stood--it is we who have left not one stone upon another, and restored its pathlessness to the desert; the great cathedrals of old religion would have stood--it is we who have dashed down the carved work with axes and hammers, and bid the mountain-gra.s.s bloom upon the pavement, and the sea-winds chaunt in the galleries.

You will perhaps think all this was somehow necessary for the development of the human race. I cannot stay now to dispute that, though I would willingly; but do you think it is _still_ necessary for that development? Do you think that in this nineteenth century it is still necessary for the European nations to turn all the places where their princ.i.p.al art-treasures are into battle-fields? For that is what they are doing even while I speak; the great firm of the world is managing its business at this moment, just as it has done in past time. Imagine what would be the thriving circ.u.mstances of a manufacturer of some delicate produce--suppose gla.s.s, or china--in whose workshop and exhibition rooms all the workmen and clerks began fighting at least once a day, first blowing off the steam, and breaking all the machinery they could reach; and then making fortresses of all the cupboards, and attacking and defending the show-tables, the victorious party finally throwing everything they could get hold of out of the window, by way of showing their triumph, and the poor manufacturer picking up and putting away at last a cup here and a handle there. A fine prosperous business that would be, would it not? and yet that is precisely the way the great manufacturing firm of the world carries on its business.

It has so arranged its political squabbles for the last six or seven hundred years, that not one of them could be fought out but in the midst of its most precious art; and it so arranges them to this day.

For example, if I were asked to lay my finger, in a map of the world, on the spot of the world's surface which contained at this moment the most singular concentration of art-teaching and art-treasure, I should lay it on the name of the town of Verona. Other cities, indeed, contain more works of carriageable art, but none contain so much of the glorious local art, and of the springs and sources of art, which can by no means be made subjects of package or porterage, nor, I grieve to say, of salvage. Verona possesses, in the first place, not the largest, but the most perfect and intelligible Roman amphitheatre that exists, still unbroken in circle of step, and strong in succession of vault and arch: it contains minor Roman monuments, gateways, theatres, baths, wrecks of temples, which give the streets of its suburbs a character of antiquity unexampled elsewhere, except in Rome itself. But it contains, in the next place, what Rome does not contain--perfect examples of the great twelfth-century Lombardic architecture, which was the root of all the mediaeval art of Italy, without which no Giottos, no Angelicos, no Raphaels would have been possible: it contains that architecture, not in rude forms, but in the most perfect and loveliest types it ever attained--contains those, not in ruins, nor in altered and hardly decipherable fragments, but in churches perfect from porch to apse, with all their carving fresh, their pillars firm, their joints unloosened. Besides these, it includes examples of the great thirteenth- and fourteenth-century Gothic of Italy, not merely perfect, but elsewhere unrivalled. At Rome, the Roman--at Pisa, the Lombard, architecture may be seen in greater or in equal n.o.bleness; but not at Rome, nor Pisa, nor Florence, nor in any city of the world, is there a great mediaeval Gothic like the Gothic of Verona. Elsewhere, it is either less pure in type or less lovely in completion: only at Verona may you see it in the simplicity of its youthful power, and the tenderness of its accomplished beauty. And Verona possesses, in the last place, the loveliest Renaissance architecture of Italy, not disturbed by pride, nor defiled by luxury, but rising in fair fulfilment of domestic service, serenity of effortless grace, and modesty of home seclusion; its richest work given to the windows that open on the narrowest streets and most silent gardens. All this she possesses, in the midst of natural scenery such as a.s.suredly exists nowhere else in the habitable globe--a wild Alpine river foaming at her feet, from whose sh.o.r.e the rocks rise in a great crescent, dark with cypress, and misty with olive: illimitably, from before her southern gates, the tufted plains of Italy sweep and fade in golden light; around her, north and west, the Alps crowd in crested troops, and the winds of Benacus bear to her the coolness of their snows.

And this is the city--such, and possessing such things as these--at whose gates the decisive battles of Italy are fought continually: three days her towers trembled with the echo of the cannon of Arcola; heaped pebbles of the Mincio divide her fields to this hour with lines of broken rampart, whence the tide of war rolled back to Novara; and now on that crescent of her eastern cliffs, whence the full moon used to rise through the bars of the cypresses in her burning summer twilights, touching with soft increase of silver light the rosy marbles of her balconies--along the ridge of that encompa.s.sing rock, other circles are increasing now, white and pale; walled towers of cruel strength, sable-spotted with cannon-courses. I tell you, I have seen, when the thunderclouds came down on those Italian hills, and all their crags were dipped in the dark, terrible purple, as if the winepress of the wrath of G.o.d had stained their mountain-raiment--I have seen the hail fall in Italy till the forest branches stood stripped and bare as if blasted by the locust; but the white hail never fell from those clouds of heaven as the black hail will fall from the clouds of h.e.l.l, if ever one breath of Italian life stirs again in the streets of Verona.

Sad as you will feel this to be, I do not say that you can directly prevent it; you cannot drive the Austrians out of Italy, nor prevent them from building forts where they choose. But I do say,[12] that you, and I, and all of us, ought to be both acting and feeling with a full knowledge and understanding of these things, and that, without trying to excite revolutions or weaken governments, we may give our own thoughts and help, so as in a measure to prevent needless destruction.

We should do this, if we only realized the thing thoroughly. You drive out day by day through your own pretty suburbs, and you think only of making, with what money you have to spare, your gateways handsomer, and your carriage-drives wider--and your drawing-rooms more splendid, having a vague notion that you are all the while patronizing and advancing art, and you make no effort to conceal the fact, that within a few hours' journey of you, there are gateways and drawing-rooms which might just as well be yours as these, all built already; gateways built by the greatest masters of sculpture that ever struck marble; drawing-rooms, painted by t.i.tian and Veronese; and you won't accept, nor save these as they are, but you will rather fetch the house-painter from over the way, and let t.i.tian and Veronese house the rats. ”Yes,” of course, you answer; ”we want nice houses here, not houses in Verona. What should we do with houses in Verona?” And I answer, do precisely what you do with the most expensive part of your possessions here: take pride in them--only a n.o.ble pride. You know well, when you examine your own hearts, that the greater part of the sums you spend on possessions are spent for pride. Why are your carriages nicely painted and finished outside? You don't see the outsides as you sit in them--the outsides are for other people to see.

Why are your exteriors of houses so well finished, your furniture so polished and costly, but for other people to see? You are just as comfortable yourselves, writing on your old friend of a desk, with the white cloudings in his leather, and using the light of a window which is nothing but a hole in the brick wall. And all that is desirable to be done in this matter, is merely to take pride in preserving great art, instead of in producing mean art; pride in the possession of precious and enduring things, a little way off, instead of slight and peris.h.i.+ng things near at hand. You know, in old English times, our kings liked to have lords.h.i.+ps and dukedoms abroad, and why should not you merchant princes like to have lords.h.i.+ps and estates abroad?

Believe me, rightly understood, it would be a prouder, and in the full sense of our English word, more ”respectable” thing to be lord of a palace at Verona, or of a cloister full of frescos at Florence, than to have a file of servants dressed in the finest liveries that ever tailor st.i.tched, as long as would reach from here to Bolton:--yes, and a prouder thing to send people to travel in Italy, who would have to say every now and then, of some fair piece of art, ”Ah! this was _kept_ here for us by the good people of Manchester,” than to bring them travelling all the way here, exclaiming of your various art treasures, ”These were _brought_ here for us, (not altogether without harm) by the good people of Manchester.” ”Ah!” but you say, ”the Art Treasures Exhibition will pay; but Veronese palaces won't.” Pardon me.

They _would_ pay, less directly, but far more richly. Do you suppose it is in the long run good for Manchester, or good for England, that the Continent should be in the state it is? Do you think the perpetual fear of revolution, or the perpetual repression of thought and energy that clouds and enc.u.mbers the nations of Europe, is eventually profitable for _us_? Were we any the better of the course of affairs in '48; or has the stabling of the dragoon horses in the great houses of Italy, any distinct effect in the promotion of the cotton-trade?

Not so. But every stake that you could hold in the stability of the Continent, and every effort that you could make to give example of English habits and principles on the Continent, and every kind deed that you could do in relieving distress and preventing despair on the Continent, would have tenfold reaction on the prosperity of England, and open and urge, in a thousand unforeseen directions, the sluices of commerce and the springs of industry.

[12] The reader can hardly but remember Mrs. Browning's beautiful appeal for Italy, made on the occasion of the first great Exhibition of Art in England:--

”O Magi of the east and of the west, Your incense, gold, and myrrh are excellent!-- What gifts for Christ, then, bring ye with the rest?

Your hands have worked well. Is your courage spent In handwork only? Have you nothing best, Which generous souls may perfect and present, And He shall thank the givers for? no light Of teaching, liberal nations, for the poor, Who sit in darkness when it is not night?

No cure for wicked children? Christ,--no cure, No help for women, sobbing out of sight Because men made the laws? no brothel-lure Burnt out by popular lightnings? Hast thou found No remedy, my England, for such woes?

No outlet, Austria, for the scourged and bound, No call back for the exiled? no repose, Russia, for knouted Poles worked underground, And gentle ladies bleached among the snows?

No mercy for the slave, America?

No hope for Rome, free France, chivalric France?

Alas, great nations have great shames, I say.

No pity, O world, no tender utterance Of benediction, and prayers stretched this way For poor Italia, baffled by mischance?

O gracious nations, give some ear to me!

You all go to your Fair, and I am one Who at the roadside of humanity Beseech your alms,--G.o.d's justice to be done.

So, prosper!”