The Two Paths - Ruskin John

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of hallowing its passions and confirming its principles by direct association with the charm, or power, of nature. The writings of Scott and Burns—and yet more, of the far greater poets than Burns who gave Scotland her traditional ballads,—furnish you in every stanza—almost in every line—with examples of this association of natural scenery with the passions; [Footnote: The great poets of Scotland, like the great poets of all other countries, never write dissolutely, either in matter or method; but with stern and measured meaning in every syllable. Here's a bit of first-rate work for example:

                            "Tweed said to Till,

                            'What gars ye rin sae still?'

                             Till said to Tweed,

                            'Though ye rin wi' speed,

                             And I rin slaw,

                             Whar ye droon ae man,

                             I droon twa.'"]

      but an instance of its farther connection with moral principle struck me forcibly just at the time when I was most lamenting the absence of art among the people. In one of the loneliest districts of Scotland, where the peat cottages are darkest, just at the western foot of that great mass of the Grampians which encircles the sources of the Spey and the Dee, the main road which traverses the chain winds round the foot of a broken rock called Crag, or Craig Ellachie. There is nothing remarkable in either its height or form; it is darkened with a few scattered pines, and touched along its summit with a flush of heather; but it constitutes a kind of headland, or leading promontory, in the group of hills to which it belongs—a sort of initial letter of the mountains; and thus stands in the mind of the inhabitants of the district, the Clan Grant, for a type of their country, and of the influence of that country upon themselves. Their sense of this is beautifully indicated in the war-cry of the clan, "Stand fast, Craig Ellachie." You may think long over those few words without exhausting the deep wells of feeling and thought contained in them—the love of the native land, the assurance of their faithfulness to it; the subdued and gentle assertion of indomitable courage—I may need to be told to stand, but, if I do, Craig Ellachie does. You could not but have felt, had you passed beneath it at the time when so many of England's dearest children were being defended by the strength of heart of men born at its foot, how often among the delicate Indian palaces, whose marble was pallid with horror, and whose vermilion was darkened with blood, the remembrance of its rough grey rocks and purple heaths must have risen before the sight of the Highland soldier; how often the hailing of the shot and the shriek of battle would pass away from his hearing, and leave only the whisper of the old pine branches—"Stand fast, Craig Ellachie!"

      You have, in these two nations, seen in direct opposition the effects on moral sentiment of art without nature, and of nature without art. And you see enough to justify you in suspecting—while, if you choose to investigate the subject more deeply and with other examples, you will find enough to justify you in concluding—that art, followed as such, and for its own sake, irrespective of the interpretation of nature by it, is destructive of whatever is best and noblest in humanity; but that nature, however simply observed, or imperfectly known, is, in the degree of the affection felt for it, protective and helpful to all that is noblest in humanity.

      You might then conclude farther, that art, so far as it was devoted to the record or the interpretation of nature, would be helpful and ennobling also.

      And you would conclude this with perfect truth. Let me repeat the assertion distinctly and solemnly, as the first that I am permitted to make in this building, devoted in a way so new and so admirable to the service of the art-students of England—Wherever art is practised for its own sake, and the delight of the workman is in what he does and produces, instead of what he interprets or exhibits, —there art has an influence of the most fatal kind on brain and heart, and it issues, if long so pursued, in the destruction both of intellectual power and moral principal; whereas art, devoted humbly and self- forgetfully to the clear statement and record of the facts of the universe, is always helpful and beneficent to mankind, full of comfort, strength, and salvation.

      Now, when you were once well assured of this, you might logically infer another thing, namely, that when Art was occupied in the function in which she was serviceable, she would herself be strengthened by the service, and when she was doing what Providence without doubt intended her to do, she would gain in vitality and dignity just as she advanced in usefulness. On the other hand, you might gather, that when her agency was distorted to the deception or degradation of mankind, she would herself be equally misled and degraded—that she would be checked in advance, or precipitated in decline.

      And this is the truth also; and holding this clue you will easily and justly interpret the phenomena of history. So long as Art is steady in the contemplation and exhibition of natural facts, so long she herself lives and grows; and in her own life and growth partly implies, partly secures, that of the nation in the midst of which she is practised. But a time has always hitherto come, in which, having thus reached a singular perfection, she begins to contemplate that perfection, and to imitate it, and deduce rules and forms from it; and thus to forget her duty and ministry as the interpreter and discoverer of Truth. And in the very instant when this diversion of her purpose and forgetfulness of her function take place—forgetfulness generally coincident with her apparent perfection—in that instant, I say, begins her actual catastrophe; and by her own fall—so far as she has influence—she accelerates the ruin of the nation by which she is practised.

      The study, however, of the effect of art on the mind of nations is one rather for the historian than for us; at all events it is one for the discussion of which we have no more time this evening. But I will ask your patience with me while I try to illustrate, in some further particulars, the dependence of the healthy state and power of art itself upon the exercise of its appointed function in the interpretation of fact.

      You observe that I always say interpretation, never imitation. My reason for so doing is, first, that good art rarely imitates; it usually only describes or explains. But my second and chief reason is that good art always consists of two things: First, the observation of fact; secondly, the manifesting of human design and authority in the way that fact is told. Great and good art must unite the two; it cannot exist for a moment but in their unity; it consists of the two as essentially as water consists of oxygen and hydrogen, or marble of lime and carbonic acid.

      Let us inquire a little into the nature of each of the elements. The first element, we say, is the love of Nature, leading to the effort to observe and report her truly. And this is the first and leading element. Review for yourselves the history of art, and you will find this to be a manifest certainty, that no great school ever yet existed which had not for primal aim the representation of some natural fact as truly as possible. There have only yet appeared in the world three schools of perfect art—schools, that is to say, that did their work as well as it seems possible to do it. These are the Athenian, [Footnote: See below, the farther notice of the real spirit of Greek work, in the address at Bradford.] Florentine, and Venetian. The Athenian proposed to itself the perfect representation of the form of the human body. It strove to do that as well as it could; it did that as well as it can be done; and all its greatness was founded upon and involved in that single and honest effort. The Florentine school proposed to itself the perfect expression of human emotion—the showing of the effects of passion in the human face and gesture. I call this the Florentine school, because, whether you take Raphael for the culminating master of expressional art in Italy, or Leonardo, or Michael Angelo, you will find that the whole energy of the national effort which produced those masters had its root in Florence; not at Urbino or Milan. I say, then, this Florentine or leading Italian school proposed to itself human expression for its aim in natural truth; it strove to do that as well as it could—did it as well as it can be done—and all its greatness is rooted in that single and honest effort. Thirdly, the Venetian school propose the representation of the effect of colour and shade on all things; chiefly

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