4. It becomes, under such circumstances, my inevitable duty to speak of the existing conditions of Art with plainness enough to guard the youths whose judgments I am intrusted to form, from being misled, either by their own naturally vivid interest in what represents, however unworthily, the scenes and persons of their own day, or by the cunningly devised, and, without doubt, powerful allurements of Art which has long since confessed itself to have no other object than to allure. I have, therefore, added to the second of these Lectures such illustration of the motives and course of modern industry as naturally arose out of its subject; and shall continue in future to make similar applications; rarely indeed, permitting myself, in the Lectures actually read before the University, to introduce, subjects of instant, and therefore too exciting, interest; but completing the addresses which I prepare for publication in these, and in any other, particulars, which may render them more widely serviceable.
5. The present course of Lectures will be followed, if I am able to fulfill the design of them, by one of a like elementary character on Architecture; and that by a third series on Christian Sculpture: but, in the meantime, my effort is to direct the attention of the resident students to Natural History, and to the higher branches of ideal Landscape: and it will be, I trust, accepted as sufficient reason for the delay which has occurred in preparing the following sheets for the press, that I have not only been interrupted by a dangerous illness, but engaged, in what remained to me of the summer, in an endeavor to deduce, from the overwhelming complexity of modern classification in the Natural Sciences, some forms capable of easier reference by Art students, to whom the anatomy of brutal and floral nature is often no less important than that of the human body.
The preparation of examples for manual practice, and the arrangement of standards for reference, both in Painting and Sculpture, had to be carried on, meanwhile, as I was able. For what has already been done, the reader is referred to the "Catalogue of the Educational Series," published at the end of the Spring Term: of what remains to be done I will make no anticipatory statement, being content to have ascribed to me rather the fault of narrowness in design, than of extravagance in expectation.
Denmark Hill,
25th November, 1871.
FOOTNOTES:
[1] Photography cannot exhibit the character of large and finished sculpture; but its audacity of shadow is in perfect harmony with the more roughly picturesque treatment necessary in coins. For the rendering of all such frank relief, and for the better explanation of forms disturbed by the luster of metal or polished stone, the method employed in the plates of this volume will be found, I believe, satisfactory. Casts are first taken from the coins, in white plaster; these are photographed, and the photograph printed by the autotype process. Plate XII. is exceptional, being a pure mezzotint engraving of the old school, excellently carried through by my assistant, Mr. Allen, who was taught, as a personal favor to myself, by my friend, and Turner's fellow-worker, Thomas Lupton. Plate IV. was intended to be a photograph from the superb vase in the British Museum, No. 564 in Mr. Newton's Catalogue; but its variety of color defied photography, and after the sheets had gone to press I was compelled to reduce Le Normand's plate of it, which is unsatisfactory, but answers my immediate purpose.
The enlarged photographs for use in the Lecture Room were made for me with most successful skill by Sergeant Spackman, of South Kensington; and the help throughout rendered to me by Mr. Burgess is acknowledged in the course of the Lectures; though with thanks which must remain inadequate lest they should become tedious; for Mr. Burgess drew the subjects of Plates III., X., and XIII.; and drew and engraved every wood-cut in the book.
[2] It is included in this edition. See Lecture VII., pp. 132–158.
[3] Lectures on Art, 1870.
[4] A pamphlet by the Earl of Southesk, 'Britain's Art Paradise' (Edmonston and Douglas, Edinburgh), contains an entirely admirable criticism of the most faultful pictures of the 1871 Exhibition. It is to be regretted that Lord Southesk speaks only to condemn; but indeed, in my own three days' review of the rooms, I found nothing deserving of notice otherwise, except Mr. Hook's always pleasant sketches from fisher-life, and Mr. Pettie's graceful and powerful, though too slightly painted, study from Henry IV.
ARATRA PENTELICI.
LECTURE I.
OF THE DIVISION OF ARTS.
November, 1870.
1. If, as is commonly believed, the subject of study which it is my special function to bring before you had no relation to the great interests of mankind, I should have less courage in asking for your attention to-day, than when I first addressed you; though, even then, I did not do so without painful diffidence. For at this moment, even supposing that in other places it were possible for men to pursue their ordinary avocations undisturbed by indignation or pity—here, at least, in the midst of the deliberative and religious influences of England, only one subject, I am well assured, can seriously occupy your thoughts—the necessity, namely, of determining how it has come to pass that, in these recent days, iniquity the most reckless and monstrous can be committed unanimously, by men more generous than ever yet in the world's history were deceived into deeds of cruelty; and that prolonged agony of body and spirit, such as we should shrink from inflicting willfully on a single criminal, has become the appointed and accepted portion of unnumbered multitudes of innocent persons, inhabiting the districts of the world which, of all others, as it seemed, were best instructed in the laws of civilization, and most richly invested with the honor, and indulged in the felicity, of peace.
Believe me, however, the subject of Art—instead of being foreign to these deep questions of social duty and peril—is so vitally connected with them, that it would be impossible for me now to pursue the line of thought in which I began these lectures, because so ghastly an emphasis would be given to every sentence by the force of passing events. It is well, then, that in the plan I have laid down for your study, we shall now be led into the examination of technical details, or abstract conditions of sentiment; so that the hours you spend with me may be times of repose from heavier thoughts. But it chances strangely that, in this course of minutely detailed study, I have first to set before you the most essential piece of human workmanship, the plow, at the very moment when—(you may see the announcement in the journals either of yesterday or the day before)—the swords of your soldiers have been sent for to be sharpened, and not at all to be beaten into plowshares. I permit myself, therefore, to remind you of the watchword of all my earnest writings—"Soldiers of the Plowshare, instead of Soldiers of the Sword,"—and I know it my duty to assert to you that the work we enter upon to-day is no trivial one, but full of solemn hope; the hope, namely, that among you there may be found men wise enough to lead the national passions towards the arts of peace, instead of the arts of war.
I say, the work "we enter upon," because the first four lectures I gave in the spring were