The Two Paths. John RuskinЧитать онлайн книгу.

LECTURE I. — THE DETERIORATIVE POWER OF CONVENTIONAL ART OVER NATIONS.

       Table of Contents

       An Inaugural Lecture, Delivered at the Kensington Museum, January, 1858.

      [Note: A few introductory words, in which, at the opening of this lecture, I thanked the Chairman (Mr. Cockerell), for his support on the occasion, and asked his pardon for any hasty expressions in my writings, which might have seemed discourteous towards him, or other architects whose general opinions were opposed to mine, may be found by those who care for preambles, not much misreported, in the Building Chronicle; with such comments as the genius of that journal was likely to suggest to it.]

      As I passed, last summer, for the first time, through the north of Scotland, it seemed to me that there was a peculiar painfulness in its scenery, caused by the non-manifestation of the powers of human art. I had never travelled in, nor even heard or conceived of such a country before; nor, though I had passed much of my life amidst mountain scenery in the south, was I before aware how much of its charm depended on the little gracefulnesses and tendernesses of human work, which are mingled with the beauty of the Alps, or spared by their desolation. It is true that the art which carves and colours the front of a Swiss cottage is not of any very exalted kind; yet it testifies to the completeness and the delicacy of the faculties of the mountaineer; it is true that the remnants of tower and battlement, which afford footing to the wild vine on the Alpine promontory, form but a small part of the great serration of its rocks; and yet it is just that fragment of their broken outline which gives them their pathetic power, and historical majesty. And this element among the wilds of our own country I found wholly wanting. The Highland cottage is literally a heap of gray stones, choked up, rather than roofed over, with black peat and withered heather; the only approach to an effort at decoration consists in the placing of the clods of protective peat obliquely on its roof, so as to give a diagonal arrangement of lines, looking somewhat as if the surface had been scored over by a gigantic claymore.

      And, at least among the northern hills of Scotland, elements of more ancient architectural interest are equally absent. The solitary peel- house is hardly discernible by the windings of the stream; the roofless aisle of the priory is lost among the enclosures of the village; and the capital city of the Highlands, Inverness, placed where it might ennoble one of the sweetest landscapes, and by the shore of one of the loveliest estuaries in the world;—placed between the crests of the Grampians and the flowing of the Moray Firth, as if it were a jewel clasping the folds of the mountains to the blue zone of the sea—is only distinguishable from a distance by one architectural feature, and exalts all the surrounding landscape by no other associations than those which can be connected with its modern castellated gaol.

      While these conditions of Scottish scenery affected me very painfully, it being the first time in my life that I had been in any country possessing no valuable monuments or examples of art, they also forced me into the consideration of one or two difficult questions respecting the effect of art on the human mind; and they forced these questions upon me eminently for this reason, that while I was wandering disconsolately among the moors of the Grampians, where there was no art to be found, news of peculiar interest was every day arriving from a country where there was a great deal of art, and art of a delicate kind, to be found. Among the models set before you in this institution, and in the others established throughout the kingdom for the teaching of design, there are, I suppose, none in their kind more admirable than the decorated works of India. They are, indeed, in all materials capable of colour, wool, marble, or metal, almost inimitable in their delicate application of divided hue, and fine arrangement of fantastic line. Nor is this power of theirs exerted by the people rarely, or without enjoyment; the love of subtle design seems universal in the race, and is developed in every implement that they shape, and every building that they raise; it attaches itself with the same intensity, and with the same success, to the service of superstition, of pleasure or of cruelty; and enriches alike, with one profusion on enchanted iridescence, the dome of the pagoda, the fringe of the girdle and the edge of the sword.

      So then you have, in these two great populations, Indian and Highland—in the races of the jungle and of the moor—two national capacities distinctly and accurately opposed. On the one side you have a race rejoicing in art, and eminently and universally endowed with the gift of it; on the other you have a people careless of art, and apparently incapable of it, their utmost effort hitherto reaching no farther than to the variation of the positions of the bars of colour in square chequers. And we are thus urged naturally to enquire what is the effect on the moral character, in each nation, of this vast difference in their pursuits and apparent capacities? and whether those rude chequers of the tartan, or the exquisitely fancied involutions of the Cashmere, fold habitually over the noblest hearts? We have had our answer. Since the race of man began its course of sin on this earth, nothing has ever been done by it so significative of all bestial, and lower than bestial degradation, as the acts the Indian race in the year that has just passed by. Cruelty as fierce may indeed have been wreaked, and brutality as abominable been practised before, but never under like circumstances; rage of prolonged war, and resentment of prolonged oppression, have made men as cruel before now; and gradual decline into barbarism, where no examples of decency or civilization existed around them, has sunk, before now, isolated populations to the lowest level of possible humanity. But cruelty stretched to its fiercest against the gentle and unoffending, and corruption festered to its loathsomest in the midst of the witnessing presence of a disciplined civilization—these we could not have known to be within the practicable compass of human guilt, but for the acts of the Indian mutineer. And, as thus, on the one hand, you have an extreme energy of baseness displayed by these lovers of art; on the other—as if to put the question into the narrowest compass—you have had an extreme energy of virtue displayed by the despisers of art. Among all the soldiers to whom you owe your victories in the Crimea, and your avenging in the Indies, to none are you bound by closer bonds of gratitude than to the men who have been born and bred among those desolate Highland moors. And thus you have the differences in capacity and circumstance between the two nations, and the differences in result on the moral habits of two nations, put into the most significant—the most palpable—the most brief opposition. Out of the peat cottage come faith, courage, self- sacrifice, purity, and piety, and whatever else is fruitful in the work of Heaven; out of the ivory palace come treachery, cruelty, cowardice, idolatry, bestiality—whatever else is fruitful in the work of Hell.

      But the difficulty does not close here. From one instance, of however great apparent force, it would be wholly unfair to gather any general conclusion—wholly illogical to assert that because we had once found love of art connected with moral baseness, the love of art must be the general root of moral baseness; and equally unfair