The Crown of Wild Olive - John Ruskin (ereader with android .TXT) 📗

36. "'Dear child, I am the Art of Image-sculpture, which yesterday you began to learn; and I am as one of your own people, and of your house, for your grandfather,' (and she named my mother's father) 'was a stone-cutter; and both your uncles had good name through me: and if you will keep yourself well clear of the sillinesses and fluent follies that come from this creature,' (and she pointed to the other woman) 'and will follow me, and live with me, first of all, you shall be brought up as a man should be, and have strong shoulders; and, besides that, you shall be kept well quit of all restless desires, and you shall never be obliged to go away into any foreign places, leaving your own country and the people of your house; neither shall all men praise you for your talk.[116] And you must not despise this rude serviceableness of my body, neither this meanness of my dusty dress; for, pushing on in their strength from such things as these, that great Phidias revealed Zeus, and Polyclitus wrought out Hera, and Myron was praised, and Praxiteles marvelled at: therefore are these men worshipped with the gods.'"

37. There is a beautiful ambiguity in the use of the preposition with the genitive in this last sentence. "Pushing on from these things" means indeed, justly, that the sculptors rose from a mean state to a noble one; but not as leaving the mean state;—not as, from a hard life, attaining to a soft one,—but as being helped and strengthened by the rough life to do what was greatest. Again, "worshipped with the gods" does not mean that they are thought of as in any sense equal to, or like to, the gods, but as being on the side of the gods against what is base and ungodly; and that the kind of worth which is in them is therefore indeed worshipful, as having its source with the gods. Finally, observe that every one of the expressions, used of the four sculptors, is definitely the best that Lucian could have chosen. Phidias carved like one who had seen Zeus, and had only to reveal him; Polyclitus, in labour of intellect, completed his sculpture by just law, and wrought out Hera; Myron was of all most praised, because he did best what pleased the vulgar; and Praxiteles, the most wondered at or admired, because he bestowed utmost exquisiteness of beauty.

38. I am sorry not to go on with the dream; the more refined lady, as you may remember, is liberal or gentlemanly Education, and prevails at last; so that Lucian becomes an author instead of a sculptor, I think to his own regret, though to our present benefit. One more passage of his I must refer you to, as illustrative of the point before us; the description of the temple of the Syrian Hieropolis, where he explains the absence of the images of the sun and moon. "In the temple itself," he says, "on the left hand as one goes in, there is set first the throne of the sun; but no form of him is thereon, for of these two powers alone, the sun and the moon, they show no carved images. And I also learned why this is their law, for they say that it is permissible, indeed, to make of the other gods, graven images, since the forms of them are not visible to all men. But Helios and Selenaia are everywhere clear-bright, and all men behold them; what need is there therefore for sculptured work of these, who appear in the air?"

39. This, then, is the second instinct necessary to sculpture; the desire for the manifestation, description, and companionship of unknown powers; and for possession of a bodily substance—the "bronze Strasbourg," which you can embrace, and hang immortelles on the head of—instead of an abstract idea. But if you get nothing more in the depth of the national mind than these two feelings, the mimetic and idolizing instincts, there may be still no progress possible for the arts except in delicacy of manipulation and accumulative caprice of design. You must have not only the idolizing instinct, but an ηθος which chooses the right thing to idolize! Else, you will get states of art like those in China or India, non-progressive, and in great part diseased and frightful, being wrought under the influence of foolish terror, or foolish admiration. So that a third condition, completing and confirming both the others, must exist in order to the development of the creative power.

40. This third condition is that the heart of the nation shall be set on the discovery of just or equal law, and shall be from day to day developing that law more perfectly. The Greek school of sculpture is formed during, and in consequence of, the national effort to discover the nature of justice; the Tuscan, during, and in consequence of, the national effort to discover the nature of justification. I assert to you at present briefly, what will, I hope, be the subject of prolonged illustration hereafter.

41. Now when a nation with mimetic instinct and imaginative longing is also thus occupied earnestly in the discovery of Ethic law, that effort gradually brings precision and truth into all its manual acts; and the physical progress of sculpture as in the Greek, so in the Tuscan, school, consists in gradually limiting what was before indefinite, in verifying what was inaccurate, and in humanizing what was monstrous. I might perhaps content you by showing these external phenomena, and by dwelling simply on the increasing desire of naturalness, which compels, in every successive decade of years, literally, in the sculptured images, the mimicked bones to come together, bone to his bone; and the flesh to come up upon them, until from a flattened and pinched handful of clay, respecting which you may gravely question whether it was intended for a human form at all;—by slow degrees, and added touch to touch, in increasing consciousness of the bodily truth,—at last the Aphrodite of Melos stands before you, a perfect woman. But all that search for physical accuracy is merely the external operation, in the arts, of the seeking for truth in the inner soul; it is impossible without that higher effort, and the demonstration of it would be worse than useless to you, unless I made you aware at the same time of its spiritual cause.

42. Observe farther; the increasing truth in representation is co-relative with increasing beauty in the thing to be represented. The pursuit of justice which regulates the imitative effort, regulates also the development of the race into dignity of person, as of mind; and their culminating art-skill attains the grasp of entire truth at the moment when the truth becomes most lovely. And then, ideal sculpture may go on safely into portraiture. But I shall not touch on the subject of portrait sculpture to-day; it introduces many questions of detail, and must be a matter for subsequent consideration.

43. These then are the three great passions which are concerned in true sculpture. I cannot find better, or, at least, more easily remembered, names for them than "the Instincts of Mimicry, Idolatry, and Discipline;" meaning, by the last, the desire of equity and wholesome restraint, in all acts and works of life. Now of these, there is no question but that the love of Mimicry is natural and right, and the love of Discipline is natural and right. But it looks a grave question whether the yearning for Idolatry, (the desire of companionship with images,) is right. Whether, indeed, if such an instinct be essential to good sculpture, the art founded on it can possibly be "fine" art.

44. I must now beg for your close attention, because I have to point out distinctions in modes of conception which will appear trivial to you, unless accurately understood; but of an importance in the history of art which cannot be overrated.

When the populace of Paris adorned the statue of Strasbourg with immortelles, none, even the simplest of the pious decorators, would suppose that the city of Strasbourg itself, or any spirit or ghost of the city, was actually there, sitting in the Place de la Concorde. The figure was delightful to them as a visible nucleus for their fond thoughts about Strasbourg; but never for a moment supposed to be Strasbourg.

Similarly, they might have taken delight in a statue purporting to represent a river instead of a city,—the Rhine, or Garonne, suppose,—and have been touched with strong emotion in looking at it, if the real river were dear to them, and yet never think for an instant that the statue was the river.

And yet again, similarly, but much more distinctly, they might take delight in the beautiful image of a god, because it gathered and perpetuated their thoughts about that god; and yet never suppose, nor be capable of being deceived by any arguments into supposing, that the statue was the god.

On the other hand, if a meteoric stone fell from the sky in the sight of a savage, and he picked it up hot, he would most probably lay it aside in some, to him, sacred place, and believe the stone itself to be a kind of god, and offer prayer and sacrifice to it.

In like manner, any other strange or terrifying object, such, for instance, as a powerfully noxious animal or plant, he would be apt to regard in the same way; and very possibly also construct for himself frightful idols of some kind, calculated to produce upon him a vague impression of their being alive; whose imaginary anger he might deprecate or avert with sacrifice, although incapable of conceiving in them any one attribute of exalted intellectual or moral nature.

45. If you will now refer to § 52-59 of my Introductory Lectures, you will find this distinction between a resolute conception, recognized for such, and an involuntary apprehension of spiritual existence, already insisted on at some length. And you will see more and more clearly as we proceed, that the deliberate and intellectually commanded conception is not idolatrous in any evil sense whatever, but is one of the grandest and wholesomest functions of the human soul; and that the essence of evil idolatry begins only in the idea or belief of a real presence of any kind, in a thing in which there is no such presence.

46. I need not say that the harm of the idolatry must depend on the certainty of the negative. If there be a real presence in a pillar of cloud,