John Ruskin - The Pleasures of England

In the short review of the present state of English Art, given you last year, I left necessarily many points untouched, and others unexplained. The seventh lecture, which I did not think it necessary to read aloud, furnished you with some of the corrective statements of which, whether spoken or not, it was extremely desirable that you should estimate the balancing weight. These I propose in the present course farther to illustrate, and to arrive with you at, I hope, a just—you would not wish it to be a flattering—estimate of the conditions of our English artistic life, past and present, in order that with due allowance for them we may determine, with some security, what those of us who have faculty ought to do, and those who have sensibility, to admire.

2. In thus rightly doing and feeling, you will find summed a wider duty, and granted a greater power, than the moral philosophy at this moment current with you has ever conceived; and a prospect opened to you besides, of such a Future for England as you may both hopefully and proudly labour for with your hands, and those of you who are spared to the ordinary term of human life, even see with your eyes, when all this tumult of vain avarice and idle pleasure, into which you have been plunged at birth, shall have passed into its appointed perdition.

3. I wish that you would read for introduction to the lectures I have this year arranged for you, that on the Future of England, which I gave to the cadets at Woolwich in the first year of my Professorship here, 1869; and which is now placed as the main conclusion of the "Crown of Wild Olive": and with it, very attentively, the close of my inaugural lecture given here; for the matter, no less than the tenor of which, I was reproved by all my friends, as irrelevant and ill-judged;—which, nevertheless, is of all the pieces of teaching I have ever given from this chair, the most pregnant and essential to whatever studies, whether of Art or Science, you may pursue, in this place or elsewhere, during your lives.

The opening words of that passage I will take leave to read to you again,—for they must still be the ground of whatever help I can give you, worth your acceptance.

"There is a destiny now possible to us—the highest ever set before a nation to be accepted or refused. We are still undegenerate in race: a race mingled of the best northern blood. We are not yet dissolute in temper, but still have the firmness to govern, and the grace to obey. We have been taught a religion of pure mercy, which we must either now finally betray, or learn to defend by fulfilling. And we are rich in an inheritance of honour, bequeathed to us through a thousand years of noble history, which it should be our daily thirst to increase with splendid avarice; so that Englishmen, if it be a sin to covet honour, should be the most offending souls alive. Within the last few years we have had the laws of natural science opened to us with a rapidity which has been blinding by its brightness; and means of transit and communication given to us, which have made but one kingdom of the habitable globe.

"One kingdom;—but who is to be its king? Is there to be no king in it, think you, and every man to do that which is right in his own eyes? Or only kings of terror, and the obscene empires of Mammon and Belial? Or will you, youths of England, make your country again a royal throne of kings; a sceptred isle; for all the world a source of light, a centre of peace; mistress of Learning and of the Arts;—faithful guardian of great memories in the midst of irreverent and ephemeral visions—faithful servant of time-tried principles, under temptation from fond experiments and licentious desires; and amidst the cruel and clamorous jealousies of the nations, worshipped in her strange valour, of goodwill towards men?"

The fifteen years that have passed since I spoke these words must, I think, have convinced some of my immediate hearers that the need for such an appeal was more pressing than they then imagined;—while they have also more and more convinced me myself that the ground I took for it was secure, and that the youths and girls now entering on the duties of active life are able to accept and fulfil the hope I then held out to them.

In which assurance I ask them to-day to begin the examination with me, very earnestly, of the question laid before you in that seventh of my last year's lectures, whether London, as it is now, be indeed the natural, and therefore the heaven-appointed outgrowth of the inhabitation, these 1800 years, of the valley of the Thames by a progressively instructed and disciplined people; or if not, in what measure and manner the aspect and spirit of the great city may be possibly altered by your acts and thoughts.

In my introduction to the Economist of Xenophon I said that every fairly educated European boy or girl ought to learn the history of five cities,—Athens, Rome, Venice, Florence, and London; that of London including, or at least compelling in parallel study, knowledge also of the history of Paris.

A few words are enough to explain the reasons for this choice. The history of Athens, rightly told, includes all that need be known of Greek religion and arts; that of Rome, the victory of Christianity over Paganism; those of Venice and Florence sum the essential facts respecting the Christian arts of Painting, Sculpture, and Music; and that of London, in her sisterhood with Paris, the development of Christian Chivalry and Philosophy, with their exponent art of Gothic architecture.

Without the presumption of forming a distinct design, I yet hoped at the time when this division of study was suggested, with the help of my pupils, to give the outlines of their several histories during my work in Oxford. Variously disappointed and arrested, alike by difficulties of investigation and failure of strength, I may yet hope to lay down for you, beginning with your own metropolis, some of the lines of thought in following out which such a task might be most effectively accomplished.

You observe that I speak of architecture as the chief exponent of the feelings both of the French and English races. Together with it, however, most important evidence of character is given by the illumination of manuscripts, and by some forms of jewellery and metallurgy: and my purpose in this course of lectures is to illustrate by all these arts the phases of national character which it is impossible that historians should estimate, or even observe, with accuracy, unless they are cognizant of excellence in the aforesaid modes of structural and ornamental craftsmanship.

In one respect, as indicated by the title chosen for this course, I have varied the treatment of their subject from that adopted in all my former books. Hitherto, I have always endeavoured to illustrate the personal temper and skill of the artist; holding the wishes or taste of his spectators at small account, and saying of Turner you ought to like him, and of Salvator, you ought not, etc., etc., without in the least considering what the genius or instinct of the spectator might otherwise demand, or approve. But in the now attempted sketch of Christian history, I have approached every question from the people's side, and examined the nature, not of the special faculties by which the work was produced, but of the general instinct by which it was asked for, and enjoyed. Therefore I thought the proper heading for these papers should represent them as descriptive of the Pleasures of England, rather than of its Arts .

And of these pleasures, necessarily, the leading one was that of Learning, in the sense of receiving instruction;—a pleasure totally separate from that of finding out things for yourself,—and an extremely sweet and sacred pleasure, when you know how to seek it, and receive.