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propose to decorate our public buildings with sculpture wholly of this character; though beast, and fowl, and creeping things, and fishes, might all find room on such a building as the Solomon's House of a New Atlantis; and some of them might even become symbolic of much to us again. Passing through the Strand, only the other day, for instance, I saw four highly finished and delicately coloured pictures of cock-fighting, which, for imitative quality, were nearly all that could be desired, going far beyond the Greek cock of Himera; and they would have delighted a Greek's soul, if they had meant as much as a Greek cock-fight; but they were only types of the "ενδομαχας αλεκτωρ," and of the spirit of home contest, which has been so fatal lately to the Bird of France; and not of the defence of one's own barnyard, in thought of which the Olympians set the cock on the pillars of their chariot course; and gave it goodly alliance in its battle, as you may see here, in what is left of the angle of mouldering marble in the chair of the priest of Dionusos. The cast of it, from the centre of the theatre under the Acropolis, is in the British Museum; and I wanted its spiral for you, and this kneeling Angel of Victory;—it is late Greek art, but nobly systematic flat bas-relief. So I set Mr. Burgess to draw it; but neither he nor I for a little while, could make out what the Angel of Victory was kneeling for. His attitude is an ancient and grandly conventional one among the Egyptians; and I was tracing it back to a kneeling goddess of the greatest dynasty of the Pharaohs—a goddess of Evening, or Death, laying down the sun out of her right hand;—when, one bright day, the shadows came out clear on the Athenian throne, and I saw that my Angel of Victory was only backing a cock at a cock-fight.

134. Still, as I have said, there is no reason why sculpture, even for simplest persons, should confine itself to imagery of fish, or fowl, or four-footed things.

We go back to our first principle: we ought to carve nothing but what is honourable. And you are offended, at this moment, with my fish, (as I believe, when the first sculptures appeared on the windows of this museum, offence was taken at the unnecessary introduction of cats), these dissatisfactions being properly felt by your "νους των τιμιωτατων." For indeed, in all cases, our right judgment must depend on our wish to give honour only to things and creatures that deserve it.

135. And now I must state to you another principle of veracity, both in sculpture, and all following arts, of wider scope than any hitherto examined. We have seen that sculpture is to be a true representation of true external form. Much more is it to be a representation of true internal emotion. You must carve only what you yourself see as you see it; but, much more, you must carve only what you yourself feel, as you feel it. You may no more endeavour to feel through other men's souls, than to see with other men's eyes. Whereas generally now in Europe and America, every man's energy is bent upon acquiring some false emotion, not his own, but belonging to the past, or to other persons, because he has been taught that such and such a result of it will be fine. Every attempted sentiment in relation to art is hypocritical; our notions of sublimity, of grace, or pious serenity, are all second hand; and we are practically incapable of designing so much as a bell-handle or a door-knocker without borrowing the first notion of it from those who are gone—where we shall not wake them with our knocking. I would we could.

136. In the midst of this desolation we have nothing to count on for real growth, but what we can find of honest liking and longing, in ourselves and in others. We must discover, if we would healthily advance, what things are verily τιμιωτατα among us; and if we delight to honour the dishonourable, consider how, in future, we may better bestow our likings. Now it appears to me from all our popular declarations, that we, at present, honour nothing so much as liberty and independence; and no person so much as the Free man and Self-made man, who will be ruled by no one, and has been taught, or helped, by no one. And the reason I chose a fish for you as the first subject of sculpture, was that in men who are free and self-made, you have the nearest approach, humanly possible, to the state of the fish, and finely organized ἑρπετον. You get the exact phrase in Habakkuk, if you take the Septuagint text.—"ροιησεις τους ανθρωπους ὡς τους ιχθυας της θαλασσης, και ὡς τα ἑρπετα τα ουκ εχοντα ἡγουμενον."] "Thou wilt make men as the fishes of the sea, and as the reptile things, that have no ruler over them." And it chanced that as I was preparing this lecture, one of our most able and popular prints gave me a woodcut of the "self-made man," specified as such, so vigorously drawn, and with so few touches, that Phidias or Turner himself could scarcely have done it better; so that I had only to ask my assistant to enlarge it with accuracy, and it became comparable with my fish at once. Of course it is not given by the caricaturist as an admirable face; only, I am enabled by his skill to set before you, without any suspicion of unfairness on my part, the expression to which the life we profess to think most honourable, naturally leads. If we were to take the hat off, you see how nearly the profile corresponds with that of the typical fish.

Plate VIII.—The Apollo of Syracuse and the Self-made Man. Plate VIII.—The Apollo of Syracuse and the Self-made Man.

137. Such, then, being the definition by your best popular art, of the ideal of feature at which we are gradually arriving by self-manufacture; when I place opposite to it (in Plate VIII.) the profile of a man not in any wise self-made, neither by the law of his own will, nor by the love of his own interest—nor capable, for a moment, of any kind of "Independence," or of the idea of independence; but wholly dependent upon, and subjected to, external influence of just law, wise teaching, and trusted love and truth, in his fellow-spirits;—setting before you, I say, this profile of a God-made instead of a self-made, man, I know that you will feel, on the instant, that you are brought into contact with the vital elements of human art; and that this, the sculpture of the good, is indeed the only permissible sculpture.

138. A God-made man, I say. The face, indeed, stands as a symbol of more than man in its sculptor's mind. For as I gave you, to lead your first effort in the form of leaves, the sceptre of Apollo, so this, which I give you as the first type of rightness in the form of flesh, is the countenance of the holder of that sceptre, the Sun-God of Syracuse. But there is nothing in the face (nor did the Greek suppose there was) more perfect than might be seen in the daily beauty of the creatures the Sun-God shone upon, and whom his strength and honour animated. This is not an ideal, but a quite literally true, face of a Greek youth; nay, I will undertake to show you that it is not supremely beautiful, and even to surpass it altogether with the literal portrait of an Italian one. It is in verity no more than the form habitually taken by the features of a well educated young Athenian or Sicilian citizen; and the one requirement for the sculptors of to-day is not, as it has been thought, to invent the same ideal, but merely to see the same reality.

Now, you know I told you in my fourth lecture, that the beginning of art was in getting our country clean and our people beautiful, and you supposed that to be a statement irrelevant to my subject; just as, at this moment, you perhaps think, I am quitting the great subject of this present lecture—the method of likeness-making—and letting myself branch into the discussion of what things we are to make likeness of. But you shall see hereafter that the method of imitating a beautiful thing must be different from the method of imitating an ugly one; and that, with the change in subject from what is dishonourable to what is honourable, there will be involved a parallel change in the management of tools, of lines, and of colours. So that before I can determine for you how you are to imitate, you must tell me what kind of face you wish to imitate. The best draughtsmen in the world could not draw this Apollo in ten scratches, though he can draw the self-made man. Still less this nobler Apollo of Ionian Greece, (Plate IX.) in which the incisions are softened into a harmony like that of Correggio's painting. So that you see the method itself,—the choice between black incision or fine sculpture, and perhaps, presently, the choice between colour or no colour, will depend on what you have to represent. Colour may be expedient for a glistening dolphin or a spotted fawn;—perhaps inexpedient for white Poseidon, and gleaming Dian. So that, before defining the laws of sculpture, I am compelled to ask you, what you mean to carve; and that, little as you think it, is asking you how you mean to live, and what the laws of your State are to be, for they determine those of your statue. You can only have this kind of face to study from, in the sort of state that produced it. And you will find that sort of state described in the beginning of the fourth book of the laws of Plato; as founded, for one thing, on the conviction that of all the evils that can happen to a state, quantity of money is the greatest! μειζον κακον, ως επος ειρειν, ρολει ουδεν αν γιγνοιτο, εις γενναιων και δικαιων ηθων κτησιν, "for, to speak shortly, no greater evil, matching each against each, can possibly happen to a city, as adverse to its forming just or generous character," than its being full of silver and gold.

139. Of course, the Greek notion may be wrong, and ours right, only—ως επος ειρειν—you can have Greek sculpture only on that Greek theory: shortly expressed by the words put into the mouth of Poverty herself, in the Plutus of Aristophanes "Του πλουτου παρεχω βελτιονας ανδρας, και την γνωμην, και την ιδεαν," "I deliver to you better men than the God of Money can, both in imagination and feature." So on the other hand, this ichthyoid, reptilian, or mono-chondyloid ideal of the self-made man can only be reached, universally, by a nation which holds that poverty, either of purse or spirit,—but especially the spiritual character of being πτωχοι τω πνευματι, is the lowest of degradations; and which believes that the desire of wealth is the first of manly and moral sentiments. As I have been able to get the popular ideal represented by its own living art, so I can give you this popular faith in its own living words; but in words meant seriously and not at all as caricature, from one of our leading journals, professedly æsthetic also in its very name, the Spectator, of August 6th, 1870.

Plate IX.—Apollo Chrysocomes of Clazomenœ. Plate IX.—Apollo Chrysocomes of Clazomenœ.

"Mr. Ruskin's plan," it says, "would make England poor, in order that she

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