The Queen of the Air - John Ruskin (online e book reader TXT) 📗

you, nowadays, ingeniously and irrelevantly about art. Therefore, for the most part of the day, shut your ears, and keep your eyes open: and understand primarily, what you may, I fancy, easily understand, that the greatest masters of all greatest schools--Phidias, Donatello, Titian, Velasquez, or Sir Joshua Reynolds--all tried to make human creatures as like human creatures as they could; and that anything less like humanity than their work, is not so good as theirs.

Get that well driven into your heads; and don't let it out again, at your peril.

Having got it well in, you may then further understand, safely, that three is a great deal of secondary work in pots, and pans, and floors, and carpets, and shawls, and architectural ornament, which ought essentially, to be unlike reality, and to depend for its charm on quite other qualities than imitative ones. But all such art is inferior and secondary--much of it more or less instinctive and animal, and a civilized human creature can only learn those principles rightly, by knowing those of great civilized art first--which is always the representation, to the utmost of its power, of whatever it has got to show--made to look as like the thing as possible. Go into the National Gallery, and look at the foot of Correggio's Venus there. Correggio made it as like a foot as he could, and you won't easily find anything liker. Now, you will find on any Greek vase something meant for a foot, or a hand, which is not at all like one. The Greek vase is a good thing in its way, but Correggio's picture is the best work. So, again, go into the Turner room of the National Gallery, and look at Turner's drawing of "Ivy Bridge." You will find the water in it is like real water, and the ducks in it are like real ducks. Then go into the British Museum, and look for an Egyptian landscape, and you will find the water in that constituted of blue zigzags, not at all like water; and ducks in the middle of it made of blue lines, looking not in the least as if they could stand stuffing with sage and onions. They are very good in their way, but Turner's are better. I will not pause to fence my general principle against what you perfectly well know of the due contradiction,--that a thing may be painted very like, yet painted ill. Rest content with knowing that it must be like, if it is painted well; and take this further general law: Imitation is like charity. When it is done for love it is lovely; when it is done for show, hateful. Well, then, this Greek coin is fine, first because the face is like a face. Perhaps you think there is something particularly handsome in the face, which you can't see in the photograph, or can't at present appreciate. But there is nothing of the kind. It is a very regular, quiet, commonplace sort of face; and any average English gentleman's, of good descent, would be far handsomer. Fix that in your heads also, therefore, that Greek faces are not particularly beautiful. Of that much nonsense against which you are to keep your ears shut, that which is talked to you of the Greek ideal of beauty is the absolutest. There is not a single instance of a very beautiful head left by the highest school of Greek art. On coins, there is even no approximately beautiful one. The Juno of Argos is a virago; the Athena of Athens grotesque, the Athena of Corinth is insipid; and of Thurium, sensual. The Siren Ligeia, and fountain of Arethusa, on the coins of Terina and Syracuse, are prettier, but totally without expression, and chiefly set off by their well-curled hair. You might have expected something subtle in Mercuries; but the Mercury of Ænus is a very stupid-looking fellow, in a cap like a bowl, with a knob on the top of it. The Bacchus of Thasos is a drayman with his hair pomatum'd. The Jupiter of Syracurse is, however, calm and refined; and the Apollo of Clazomenæ would have been impressive, if he had not come down to us, much flattened by friction. But on the whole, the merit of Greek coins does not primarily depend on beauty of features, nor even, in the period of highest art, that of the statues. You make take the Venus of Melos as a standard of beauty of the central Greek type. She has tranquil, regular, and lofty features; but could not hold her own for a moment against the beauty of a simple English girl, of pure race and kind heart. And the reason that Greek art, on the whole, bores you (and you know it does), is that you are always forced to look in it for something that is not there; but which may be seen every day, in real life, all round you; and which you are naturally disposed to delight in, and ought to delight in. For the Greek race was not at all one of exalted beauty, but only of general and healthy completeness of form. They were only, and could be only, beautiful in body to the degree that they were beautiful in soul (for you will find, when you read deeply into the matter, that the body is only the soul made visible). And the Greeks were indeed very good people, much better people than most of us think, or than many of us are; but there are better people alive now than the best of them, and lovelier people to be seen now than the loveliest of them. Then what are the merits of this Greek art, which make it so exemplary for you? Well, not that it is beautiful, but that it is Right.* All that it desires to do, it does, and all that it does, does well. You will find, as you advance in the knowledge of art, that its laws of self-restraint are very marvelous; that its peace of heart, and contentment in doing a simple thing, with only one or two qualities, restrictedly desired, and sufficiently attained, are a most wholesome element of education for you, as opposed to the wild writhing, and wrestling, and longing for the moon, and tilting at windmills, and agony of eyes, and torturing of fingers, and general spinning out of one's soul into fiddle-strings, which constitute the ideal life of a modern artist.

* Compare above, §101.

Also observe, there is an entire masterhood of its business up to the required point. A Greek does not reach after other people's strength, nor outreach his own. He never tries to paint before he can draw; he never tries to lay on flesh where there are no bones; and he never expects to find the bones of anything in his inner consciousness. Those are his first merits--sincere and innocent purpose, strong common-sense and principle, and all the strength that follows on that strength.

But, secondly, Greek art is always exemplary in disposition of masses, which is a thing that in modern days students rarely look for, artists not enough, and the public never. But, whatever else Greek work may fail of, you may always be sure its masses are well placed, and their placing has been the object of the most subtle care. Look, for instance, at the inscription in front of this Hercules of the name of the town-- Camarina. You can't read it, even though you may know Greek, without some pains; for the sculptor knew well enough that it mattered very little whether you read it or not, for the Camarina Hercules could tell his own story; but what did above all things matter was, that no K or A or M should come in a wrong place with respect to the outline of the head, and divert the eye from it, or spoil any of its lines. So the whole inscription is thrown into a sweeping curve of gradually diminishing size, continuing from the lion's paws, round the neck, up to the forehead, and answering a decorative purpose as completely as the curls of the mane opposite. Of these, again, you cannot change or displace one without mischief; they are almost as even in reticulation as a piece of basket-work; but each has a different form and a due relation to the rest, and if you set to work to draw that mane rightly, you will find that, whatever time you give to it, you can't get the tresses quite into their places, and that every tress out of its place does an injury. If you want to test your powers of accurate drawing, you may make that lion's mane your pons asinorum, I have never yet met with a student who didn't make an ass in a lion's skin of himself when he tried it. Granted, however, that these tresses may be finely placed, still they are not like a lion's mane. So we come back to the question,--if the face is to be like a man's face, why is not the lion's mane to be like a lion's mane? Well, because it can't be like a lion's mane without too much trouble,--and inconvenience after that, and poor success, after all. Too much trouble, in cutting the die into fine fringes and jags; inconvenience after that,--because, though you can easily stamp cheeks and foreheads smooth at a blow, you can't stamp projecting tresses fine at a blow, whatever pains you take with your die.

So your Greek uses his common sense, wastes no time, uses no skill, and says to you, "Here is beautifully set tresses, which I have carefully designed and easily stamped. Enjoy them, and if you cannot understand that they mean lion's mane, heaven mend your wits."

See, then, you have in this work well-founded knowledge, simple and right aims, thorough mastery of handicraft, splendid invention in arrangement, unerring common sense in treatment,--merits, these, I think, exemplary enough to justify our tormenting you a little with Greek art. But it has one merit more than these, the greatest of all. It always means something worth saying. Not merely worth saying for that time only, but for all time. What do you think this helmet of lion's hide is always given to Hercules for? You can't suppose it means only that he once killed a lion, and always carried its skin afterwards to show that he had, as Indian sportsmen sent home stuffed rugs, with claws at the corners, and a lump in the middle which one tumbles over every time one stirs the fire. What was this Nemean Lion, whose spoils were evermore to cover Hercules from the cold? Not merely a large specimen of Felis Leo, ranging the fields of Nemea, be sure of that. This Nemean cub was one of a bad litter. Born of Typhon and Echidna,--of the whirlwind and the snake,--Cerberus his brother, the Hydra of Lerna his sister,--it must have been difficult to get his hide off him. He had to be found in darkness, too, and dealt upon without weapons, by grip at the throat-- arrows and club of no avail against him. What does all that mean? It means that the Nemean Lion is the first great adversary of life, whatever that may be--to Hercules, or to any of us, then or now. The first monster we have to strangle, or be destroyed by, fighting in the dark, and with none to help us, only Athena standing by to encourage with her smile. Every man's Nemean Lion lies in wait for him somewhere. The slothful man says, There is a lion in the path. He says well. The quiet unslothful man says the same, and knows it too. But they differ in their further reading of the text. The slothful man says, I shall be slain, and the unslothful, IT shall be. It is the first ugly and strong enemy that rises against us, all future victory depending on