Now as I gave you and asked you to remember without failing, an aphorism which embraced the law of wise knowledge, so, to-day, I will ask you to remember, without fail, one, which absolutely defines the relation of wise art to it. I have, already, quoted our to-day’s aphorism to you, at the end of my fourth lecture on sculpture. Read the few sentences at the end of that lecture now, down to
That is Shakspeare’s judgment of his own art. And by strange coincidence, he has put the words into the mouth of the hero whose shadow, or semblance in marble, is admittedly the most ideal and heroic we possess, of man; yet, I need not ask you, whether of the two, if it were granted you to see the statue by Phidias, or the hero Theseus himself, you would choose rather to see the carved stone, or the living King. Do you recollect how Shakspeare’s Theseus concludes his sentence, spoken of the poor tradesmen’s kindly offered art, in the “Midsummer Night’s Dream”?
“The best in this kind are but shadows: and the worst are no worse, if imagination amend them.”
It will not burden your memories painfully, I hope, though it may not advance you materially in the class list, if you will learn this entire sentence by heart, being, as it is, a faultless and complete epitome of the laws of mimetic art.
40. “But Shadows!” Make them as beautiful as you can; use them only to enable you to remember and love what they are cast by. If ever you prefer the skill of them to the simplicity of the truth, or the pleasure of them to the power of the truth, you have fallen into that vice of folly, (whether you call her κακία or μωρία,) which concludes the subtle description of her given by Prodicus, that she might be seen continually εἰς τὴν ἑαυτης σκιὰν ἀποβλέπειν—to look with love, and exclusive wonder, at her own shadow.
41. There is nothing that I tell you with more eager desire that you should believe—nothing with wider ground in my experience for requiring you to believe, than this, that you never will love art well, till you love what she mirrors better.
It is the widest, as the clearest experience I have to give you; for the beginning of all my own right art work in life, (and it may not be unprofitable that I should tell you this,) depended not on my love of art, but of mountains and sea. All boys with any good in them are fond of boats, and of course I liked the mountains best when they had lakes at the bottom; and I used to walk always in the middle of the loosest gravel I could find in the roads of the midland counties, that I might hear, as I trod on it, something like the sound of the pebbles on sea-beach. No chance occurred for some time to develop what gift of drawing I had; but I would pass entire days in rambling on the Cumberland hill-sides, or staring at the lines of surf on a low sand; and when I was taken annually to the Water-colour Exhibition, I used to get hold of a catalogue before-hand, mark all the Robsons, which I knew would be of purple mountains, and all the Copley Fieldings, which I knew would be of lakes or sea; and then go deliberately round the room to these, for the sake, observe, not of the pictures, in any wise, but only of the things painted.
And through the whole of following life, whatever power of judgment I have obtained, in art, which I am now confident and happy in using, or communicating, has depended on my steady habit of always looking for the subject principally, and for the art, only as the means of expressing it.
42. At first, as in youth one is almost sure to be, I was led too far by my certainty of the rightness of this principle: and provoked into its exclusive assertion by the pertinacity with which other writers denied it: so that, in the first volume of “Modern Painters,” several passages occurred setting the subject or motive of the picture so much above the mode of its expression, that some of my more feebly gifted disciples supposed they were fulfilling my wishes by choosing exactly the subjects for painting which they were least able to paint. But the principle itself, I maintain, now in advanced life, with more reverence and firmness than in earliest youth: and though I believe that among the teachers who have opposed its assertion, there are few who enjoy the mere artifices of composition or dexterities of handling so much as I, the time which I have given to the investigation of these has only farther assured me that the pictures were noblest which compelled me to forget them.
43. Now, therefore, you see that on this simple theory, you have only to ask what will be the subjects of wise science; these also, will be, so far as they can be imitatively or suggestively represented, the subjects of wise art: and the wisdom of both the science and art will be recognized by their being lofty in their scope, but simple in their language; clear in fancy, but clearer in interpretation; severe in discernment, but delightful in display.
44. For example’s sake, since we have just been listening to Shakspeare as a teacher of science and art, we will now examine him as a subject of science and art.
Suppose we have the existence and essence of Shakspeare to investigate, and give permanent account of; we shall see that, as the scope and bearing of the science become nobler, art becomes more helpful to it; and at last, in its highest range, even necessary to it; but still only as its minister.
We examine Shakspeare, first, with the science of chemistry, which informs us that Shakspeare consists of about seventy-five parts in the hundred of water, some twelve or fifteen of nitrogen, and the rest, lime, phosphorus, and essential earthy salts.
We next examine him by the science of anatomy, which tells us (with other such matters,) that Shakspeare has seven cervical, twelve dorsal, and five lumbar vertebræ; that his fore arm has a wide sphere of rotation; and that he differs from other animals of the ape species by being more delicately prehensile in the fingers, and less perfectly prehensile in the toes.
We next approach Shakspeare with the science of natural history, which tells us the colour of his eyes and hair, his habits of life, his temper, and his predilection for poaching.
There ends, as far as this subject is concerned, our possible science of substantial things. Then we take up our science of ideal things: first of passion, then of imagination; and we are told by these that Shakspeare is capable of certain emotions, and of mastering or commanding them in certain modes. Finally, we take up our science of theology, and ascertain that he is in relation, or in supposed relation, with such and such a Being, greater than himself.
45. Now, in all these successive stages of scientific description, we find art become powerful as an aid or record, in proportion to the importance of the inquiry. For chemistry, she can do scarcely anything: merely keep note of a colour, or of the form of a crystal. For anatomy, she can do somewhat more; and for natural history, almost all things: while in recording passion, and affectionate intellect, she walks hand in hand with the highest science; and to theology, can give nobler aid even than verbal expression of literature.
46. And in considering this power of hers, remember that the theology of art has only of late been thought deserving of attention: Lord Lindsay, some thirty years ago, was the first to recognize its importance; and when I entered upon the study of the schools of Tuscany in 1845, his “Christian Mythology” was the only guide I could trust. Even as late as 1860, I had to vindicate the true position, in Christian science, of Luini, the despised pupil of Leonardo. But only assuming, what with general assent I might assume, that Raphael’s dispute of the Sacrament—(or by its less frequently given, but true name—Raphael’s Theologia,) is the most perfect effort yet made by art to illustrate divine science, I am prepared hereafter to show you that the most finished efforts of theologic literature, as compared with that piece of pictorial interpretation, have expressed less fully the condition of wise religious thought; and have been warped more dangerously into unwise religious speculation.
47. Upon these higher fields of inquiry we are not yet to enter. I shall endeavour for some time only to show you the function of modest art, as the handmaid of natural science; and the exponent, first of the beauty of the creatures subject to your own human life; and then of the history of that life in past time; of which one chief source of illustration is to be found in the most brilliant, and in its power on character, hitherto the most practically effective of the arts—Heraldry.
In natural history, I at first intended to begin with the lower types of life;