160. We are still, therefore, driven to the same point,—the need of an authoritative recommendation of some method of study to the public; a method determined upon by the concurrence of some of our best painters, and avowedly sanctioned by them, so as to leave no room for hesitation in its acceptance.

Nor need it be thought that, because the ultimate methods of work employed by painters vary according to the particular effects produced by each, there would be any difficulty in obtaining their collective assent to a system of elementary precept. The facts of which it is necessary that the student should be assured in his early efforts, are so simple, so few, and so well known to all able draughtsmen that, as I have just said, it would be rather doubt of the need of stating what seemed to them self-evident, than reluctance to speak authoritatively on points capable of dispute, that would stand in the way of their giving form to a code of general instruction. To take merely two instances: It will perhaps appear hardly credible that among amateur students, however far advanced in more showy accomplishments, there will not be found one in a hundred who can make an accurate drawing to scale. It is much if they can copy anything with approximate fidelity of its real size. Now, the inaccuracy of eye which prevents a student from drawing to scale is in fact nothing else than an entire want of appreciation of proportion, and therefore of composition. He who alters the relations of dimensions to each other in his copy, shows that he does not enjoy those relations in the original—that is to say, that all appreciation of noble design (which is based on the most exquisite relations of magnitude) is impossible to him. To give him habits of mathematical accuracy in transference of the outline of complex form, is therefore among the first, and even among the most important, means of educating his taste. A student who can fix with precision the cardinal points of a bird's wing, extended in any fixed position, and can then draw the curves of its individual plumes without measurable error, has advanced further towards a power of understanding the design of the great masters than he could by reading many volumes of criticism, or passing many months in undisciplined examination of works of art.

161. Again, it will be found that among amateur students there is almost universal deficiency in the power of expressing the roundness of a surface. They frequently draw with considerable dexterity and vigour, but never attain the slightest sense of those modulations in form which can only be expressed by gradations in shade. They leave sharp edges to their blots of colour, sharp angles in their contours of lines, and conceal from themselves their incapacity of completion by redundance of object. The assurance to such persons that no object could be rightly seen or drawn until the draughtsman had acquired the power of modulating surfaces by gradations wrought with some pointed instrument (whether pen, pencil, or chalk), would at once prevent much vain labour, and put an end to many errors of that worst kind which not only retard the student, but blind him; which prevent him from either attaining excellence himself, or understanding it in others.

162. It would be easy, did time admit it, to give instances of other principles which it is equally essential that the student should know, and certain that all painters of eminence would sanction; while even those respecting which some doubt may exist in their application to consummate practice, are yet perfectly determinable, so far as they are needed to guide a beginner. It may, for instance, be a question how far local colour should be treated as an element of chiaroscuro in a master's drawing of the human form. But there can be no question that it must be so treated in a boy's study of a tulip or a trout.

163. A still more important point would be gained if authoritative testimony of the same kind could be given to the merit and exclusive sufficiency of any series of examples of works of art, such as could at once be put within the reach of masters of schools. For the modern student labours under heavy disadvantages in what at first sight might appear an assistance to him, namely, the number of examples of many different styles which surround him in galleries or museums. His mind is disturbed by the inconsistencies of various excellences, and by his own predilection for false beauties in second or third-rate works. He is thus prevented from observing any one example long enough to understand its merit, or following any one method long enough to obtain facility in its practice. It seems, therefore, very desirable that some such standard of art should be fixed for all our schools,—a standard which, it must be remembered, need not necessarily be the highest possible, provided only it is the rightest possible. It is not to be hoped that the student should imitate works of the most exalted merit, but much to be desired that he should be guided by those which have fewest faults.

164. Perhaps, therefore, the most serviceable examples which could be set before youth might be found in the studies or drawings, rather than in the pictures, of first-rate masters; and the art of photography enables us to put renderings of such studies, which for most practical purposes are as good as the originals, on the walls of every school in the kingdom. Supposing (I merely name these as examples of what I mean), the standard of manner in light-and-shade drawing fixed by Leonardo's study, No. 19, in the collection of photographs lately published from drawings in the Florence Gallery; the standard of pen drawing with a wash, fixed by Titian's sketch, No. 30 in the same collection; that of etching, fixed by Rembrandt's spotted shell; and that of point work with the pure line, by Duerer's crest with the cock; every effort of the pupil, whatever the instrument in his hand, would infallibly tend in a right direction, and the perception of the merits of these four works, or of any others like them, once attained thoroughly, by efforts, however distant or despairing, to copy portions of them, would lead securely in due time to the appreciation of other modes of excellence.

165. I cannot, of course, within the limits of this paper, proceed to any statement of the present requirements of the English operative as regards art education. But I do not regret this, for it seems to me very desirable that our attention should for the present be concentrated on the more immediate object of general instruction. Whatever the public demand the artist will soon produce; and the best education which the operative can receive is the refusal of bad work and the acknowledgment of good. There is no want of genius among us, still less of industry. The least that we do is laborious, and the worst is wonderful. But there is a want among us, deep and wide, of discretion in directing toil, and of delight in being led by imagination. In past time, though the masses of the nation were less informed than they are now, they were for that very reason simpler judges and happier gazers; it must be ours to substitute the gracious sympathy of the understanding for the bright gratitude of innocence. An artist can always paint well for those who are lightly pleased or wisely displeased, but he cannot paint for those who are dull in applause and false in condemnation.



REMARKS ADDRESSED

TO THE MANSFIELD ART NIGHT CLASS

Oct. 14th, 1873.[22]

166. It is to be remembered that the giving of prizes can only be justified on the ground of their being the reward of superior diligence and more obedient attention to the directions of the teacher. They must never be supposed, because practically they never can become, indications of superior genius; unless in so far as genius is likely to be diligent and obedient, beyond the strength and temper of the dull.

[Note 22: This address was written for the Art Night Class, Mansfield, but not delivered by me. In my absence—I forget from what cause, but inevitable—the Duke of St. Albans honoured me by reading it to the meeting.]

But it so frequently happens that the stimulus of vanity, acting on minds of inferior calibre, produces for a time an industry surpassing the tranquil and self-possessed exertion of real power, that it may be questioned whether the custom of bestowing prizes at all may not ultimately cease in our higher Schools of Art, unless in the form of substantial assistance given to deserving students who stand in need of it: a kind of prize, the claim to which, in its nature, would depend more on accidental circumstances, and generally good conduct, than on genius.

167. But, without any reference to the opinion of others, and without any chance of partiality in your own, there is one test by which you can all determine the rate of your real progress.

Examine, after every period of renewed industry, how far you have enlarged your faculty of admiration.

Consider how much more you can see, to reverence, in the work of masters; and how much more to love, in the work of nature.

This is the only constant and infallible test of progress. That you wonder more at the work of great men, and that you care more for natural objects.

You have often been told by your teachers to expect this last result: but I fear that the tendency of modern thought is to reject the idea of that essential difference in rank between one intellect and another, of which increasing reverence is the wise acknowledgment.

You may, at least in early years, test accurately your power of doing anything in the least rightly, by your increasing conviction that you never will be able to do it as well as it has been done by others.

168. That is a lesson, I repeat, which differs much, I fear, from the one you are commonly taught. The vulgar and incomparably false saying of Macaulay's, that the intellectual giants of one age become the intellectual pigmies of the next, has been the text of too many sermons lately preached to you.

You think you are going to do better things—each of you—than Titian and Phidias—write better than Virgil—think more wisely than Solomon.

My good young people, this is the foolishest, quite pre-eminently—perhaps almost the harmfullest—notion that could possibly be put into your empty little eggshells of heads. There is not one in a million of you who can ever be great in any thing. To be greater than the greatest that have been, is permitted perhaps to one man in Europe in the course of two or three centuries. But because you cannot be Handel and Mozart—is it any reason why you should not learn to sing "God save the Queen" properly, when you have a mind to? Because a girl cannot be prima donna in the Italian Opera, is it any reason that she should not learn to play a jig for her brothers and sisters in good time, or a soft little tune for her tired mother, or that she should not sing to please herself, among the dew, on a May morning? Believe me, joy, humility, and usefulness, always go together: as insolence with misery, and these both with destructiveness. You may learn with proud teachers how to throw down the Vendome Column, and burn the Louvre, but never how to lay so much as one touch of safe colour, or one layer of steady stone: and if indeed there be among you a youth of true genius, be assured that he will distinguish himself first, not by petulance or by disdain, but by discerning firmly what to admire, and whom to obey.

169. It will, I hope, be the result of the interest lately awakened in art through our provinces, to enable each town of importance to obtain, in permanent possession, a few—and it is desirable there should be no more than a few—examples of consummate and masterful art: an engraving or two by Duerer—a single portrait by Reynolds—a fifteenth century Florentine drawing—a thirteenth century French piece of painted glass, and the like; and that, in every town occupied in a given manufacture, examples of unquestionable excellence in that manufacture should be made easily accessible in its civic museum.

I must ask you, however, to observe very carefully that I use the word manufacture in its literal and proper sense. It means the making of things by the hand. It does not mean the making them by machinery. And, while I plead with you for a true humility in rivalship with the works of others, I plead with you also for a just pride in what you really can honestly do yourself.

You must neither think your work the best ever done by man:—nor, on the other hand, think that the tongs and poker can do better—and that, although you are wiser than Solomon, all this wisdom of yours can be outshone by a shovelful of coke.

170. Let me take, for instance, the manufacture of lace, for which, I believe, your neighbouring town of Nottingham enjoys renown. There is still some distinction between machine-made and hand-made lace. I will suppose that distinction so far done away with, that, a pattern once invented, you can spin lace as fast as you now do thread. Everybody then might wear, not only lace collars, but lace gowns. Do you think they would be more comfortable in them than they are now in plain stuff—or that, when everybody could wear them, anybody would be proud of wearing them? A spider may perhaps be rationally proud of his own cobweb, even though all the fields in the morning are covered with the like, for he made it himself—but suppose a machine spun it for him?

Suppose all the gossamer were Nottingham-made, would a sensible spider be either prouder, or happier, think you?

A sensible spider! You cannot perhaps imagine such a creature. Yet surely a spider is clever enough for his own ends?

You think him an insensible spider, only because he cannot understand yours—and is apt to impede yours. Well, be assured of this, sense in human creatures is shown also, not by cleverness in promoting their own ends and interests, but by quickness in understanding other people's ends and interests, and by putting our own work and keeping our own wishes in harmony with theirs.

171. But I return to my point, of cheapness. You don't think that it would be convenient, or even creditable, for women to wash the doorsteps or dish the dinners in lace gowns? Nay, even for the most ladylike occupations—reading, or writing, or playing with her children—do you think a lace gown, or even a lace collar, so great an advantage or dignity to a woman? If you think of it, you will find the whole value of lace, as a possession, depends on the fact of its having a beauty which has been the reward of industry and attention.

That the thing itself is a prize—a thing which everybody cannot have. That it proves, by the look of it, the ability of its maker; that it proves, by the rarity of it, the dignity of its wearer—either that she has been so industrious as to save money, which can buy, say, a piece of jewellery, of gold tissue, or of fine lace—or else, that she is a noble person, to whom her neighbours concede, as an honour, the privilege of wearing finer dresses than they.

If they all choose to have lace too—if it ceases to be a prize—it becomes, does it not, only a cobweb?

The real good of a piece of lace, then, you will find, is that it should show, first, that the designer of it had a pretty fancy; next, that the maker of it had fine fingers; lastly, that the wearer of it has worthiness or dignity enough to obtain what is difficult to obtain, and common sense enough not to wear it on all occasions. I limit myself, in what farther I have to say, to the question of the manufacture—nay, of one requisite in the manufacture: that which I have just called a pretty fancy.

172. What do you suppose I mean by a pretty fancy? Do you think that, by learning to draw, and looking at flowers, you will ever get the ability to design a piece of lace beautifully? By no means. If that were so, everybody would soon learn to draw—everybody would design lace prettily—and then,—nobody would be paid for designing it. To some extent, that will indeed be the result of modern endeavour to teach design. But against all such endeavours, mother-wit, in the end, will hold her own.

But anybody who has this mother-wit, may make the exercise of it more pleasant to themselves, and more useful to other people, by learning to draw.

An Indian worker in gold, or a Scandinavian worker in iron, or an old French worker in thread, could produce indeed beautiful design out of nothing but groups of knots and spirals: but you, when you are rightly educated, may render your knots and spirals infinitely more interesting by making them suggestive of natural forms, and rich in elements of true knowledge.

173. You know, for instance, the pattern which for centuries has been the basis of ornament in Indian shawls—the bulging leaf ending in a spiral. The Indian produces beautiful designs with nothing but that spiral. You cannot better his powers of design, but you may make them more civil and useful by adding knowledge of nature to invention.

Suppose you learn to draw rightly, and, therefore, to know correctly the spirals of springing ferns—not that you may give ugly names to all the species of them—but that you may understand the grace and vitality of every hour of their existence. Suppose you have sense and cleverness enough to translate the essential character of this beauty into forms expressible by simple lines—therefore expressible by thread—you might then have a series of fern-patterns which would each contain points of distinctive interest and beauty, and of scientific truth, and yet be variable by fancy, with quite as much ease as the meaningless Indian one. Similarly, there is no form of leaf, of flower, or of insect, which might not become suggestive to you, and expressible in terms of manufacture, so as to be interesting, and useful to others.

174. Only don't think that this kind of study will ever "pay" in the vulgar sense.

It will make you wiser and happier. But do you suppose that it is the law of God, or nature, that people shall be paid in money for becoming wiser and happier? They are so, by that law, for honest work; and as all honest work makes people wiser and happier, they are indeed, in some sort, paid in money for becoming wise.

But if you seek wisdom only that you may get money, believe me, you are exactly on the foolishest of all fools' errands. "She is more precious than rubies"—but do you think that is only because she will help you to buy rubies?

"All the things thou canst desire are not to be compared to her." Do you think that is only because she will enable you to get all the things you desire? She is offered to you as a blessing in herself. She is the reward of kindness, of modesty, of industry. She is the prize of Prizes—and alike in poverty or in riches—the strength of your Life now, the earnest of whatever Life is to come.



SOCIAL POLICY

BASED ON NATURAL SELECTION.

Paper read before the Metaphysical Society, May 11th, 1875.[23]

175. It has always seemed to me that Societies like this of ours, happy in including members not a little diverse in thought and various in knowledge, might be more useful to the public than perhaps they can fairly be said to have approved themselves hitherto, by using their variety of power rather to support intellectual conclusions by concentric props, than to shake them with rotatory storms of wit; and modestly endeavouring to initiate the building of walls for the Bridal city of Science, in which no man will care to identify the particular stones he lays, rather than complying farther with the existing picturesque, but wasteful, practice of every knight to throw up a feudal tower of his own opinions, tenable only by the most active pugnacity, and pierced rather with arrow-slits from which to annoy his neighbours, than windows to admit light or air.

[Note 23: I trust that the Society will not consider its privileges violated by the publication of an essay, which, for such audience, I wrote with more than ordinary care.]

176. The paper read at our last meeting was unquestionably, within the limits its writer had prescribed to himself, so logically sound, that (encouraged also by the suggestion of some of our most influential members), I shall endeavour to make the matter of our to-night's debate consequent upon it, and suggestive of possibly further advantageous deductions.

It will be remembered that, in reference to the statement in the Bishop of Peterborough's Paper, of the moral indifference of certain courses of conduct on the postulate of the existence only of a Mechanical base of Morals, it was observed by Dr. Adam Clarke that, even on such mechanical basis, the word "moral" might still be applied specially to any course of action which tended to the development of the human race. Whereupon I ventured myself to inquire, in what direction such development was to be understood as taking place; and the discussion of this point being then dropped for want of time, I would ask the Society's permission to bring it again before them this evening in a somewhat more extended form; for in reality the question respecting the development of men is twofold,—first, namely, in what direction; and secondly, in what social relations, it is to be sought.

I would therefore at present ask more deliberately than I could at our last meeting,—first, in what direction it is desirable that the development of humanity should take place? Should it, for instance, as in Greece, be of physical beauty,—emulation, (Hesiod's second Eris),—pugnacity, and patriotism? or, as in modern England, of physical ugliness,—envy, (Hesiod's first Eris),—cowardice, and selfishness? or, as by a conceivably humane but hitherto unexampled education might be attempted, of physical beauty, humility, courage, and affection, which should make all the world one native land, and [Greek: pasa ge taphos]?

177. I do not doubt but that the first automatic impulse of all our automatic friends here present, on hearing this sentence, will be strenuously to deny the accuracy of my definition of the aims of modern English education. Without attempting to defend it, I would only observe that this automatic development of solar caloric in scientific minds must be grounded on an automatic sensation of injustice done to the members of the School Board, as well as to many other automatically well-meaning and ingenious persons; and that this sense of the injuriousness and offensiveness of my definition cannot possibly have any other basis (if I may be permitted to continue my professional similitudes) than the fallen remnants and goodly stones, not one now left on another, but still forming an unremovable cumulus of ruin, and eternal Birs Nimroud, as it were, on the site of the old belfry of Christian morality, whose top looked once so like touching Heaven.

For no offence could be taken at my definition, unless traceable to adamantine conviction,—that ugliness, however indefinable, envy, however natural, and cowardice, however commercially profitable, are nevertheless eternally disgraceful; contrary, that is to say, to the grace of our Lord Christ, if there be among us any Christ; to the grace of the King's Majesty, if there be among us any King; and to the grace even of Christless and Kingless Manhood, if there be among us any Manhood.

To this fixed conception of a difference between Better and Worse, or, when carried to the extreme, between good and evil in conduct, we all, it seems to me, instinctively and, therefore, rightly, attach the term of Moral sense;—the sense, for instance, that it would be better if the members of this Society who are usually automatically absent were, instead, automatically present; or better, that this Paper, if (which is, perhaps, too likely) it be thought automatically impertinent, had been made by the molecular action of my cerebral particles, pertinent.

178. Trusting, therefore, without more ado, to the strength of rampart in this Old Sarum of the Moral sense, however subdued into vague banks under the modern steam-plough, I will venture to suppose the first of my two questions to have been answered by the choice on the part at least of a majority of our Council, of the third direction of development above specified as being the properly called "moral" one; and will go on to the second subject of inquiry, both more difficult and of great practical importance in the political crisis through which Europe is passing,—namely, what relations between men are to be desired, or with resignation allowed, in the course of their Moral Development?

Whether, that is to say, we should try to make some men beautiful at the cost of ugliness in others, and some men virtuous at the cost of vice in others,—or rather, all men beautiful and virtuous in the degree possible to each under a system of equitable education? And evidently our first business is to consider in what terms the choice is put to us by Nature. What can we do, if we would? What must we do, whether we will or not? How high can we raise the level of a diffused Learning and Morality? and how far shall we be compelled, if we limit, to exaggerate, the advantages and injuries of our system? And are we prepared, if the extremity be inevitable, to push to their utmost the relations implied when we take off our hats to each other, and triple the tiara of the Saint in Heaven, while we leave the sinner bareheaded in Cocytus?

179. It is well, perhaps, that I should at once confess myself to hold the principle of limitation in its utmost extent; and to entertain no doubt of the rightness of my ideal, but only of its feasibility. I am ill at ease, for instance, in my uncertainty whether our greatly regretted Chairman will ever be Pope, or whether some people whom I could mention, (not, of course, members of our Society,) will ever be in Cocytus.

But there is no need, if we would be candid, to debate the principle in these violences of operation, any more than the proper methods of distributing food, on the supposition that the difference between a Paris dinner and a platter of Scotch porridge must imply that one-half of mankind are to die of eating, and the rest of having nothing to eat. I will therefore take for example a case in which the discrimination is less conclusive.

180. When I stop writing metaphysics this morning it will be to arrange some drawings for a young lady to copy. They are leaves of the best illuminated MSS. I have, and I am going to spend my whole afternoon in explaining to her what she is to aim at in copying them.

Now, I would not lend these leaves to any other young lady that I know of; nor give up my afternoon to, perhaps, more than two or three other young ladies that I know of. But to keep to the first-instanced one, I lend her my books, and give her, for what they are worth, my time and most careful teaching, because she at present paints butterflies better than any other girl I know, and has a peculiar capacity for the softening of plumes and finessing of antennae. Grant me to be a good teacher, and grant her disposition to be such as I suppose, and the result will be what might at first appear an indefensible iniquity, namely, that this girl, who has already excellent gifts, having also excellent teaching, will become perhaps the best butterfly-painter in England; while myriads of other girls, having originally inferior powers, and attracting no attention from the Slade Professor, will utterly lose their at present cultivable faculties of entomological art, and sink into the vulgar career of wives and mothers, to which we have Mr. Mill's authority for holding it a grievous injustice that any girl should be irrevocably condemned.

181. There is no need that I should be careful in enumerating the various modes, analogous to this, in which the Natural selection of which we have lately heard, perhaps, somewhat more than enough, provokes and approves the Professorial selection which I am so bold as to defend; and if the automatic instincts of equity in us, which revolt against the great ordinance of Nature and practice of Man, that "to him that hath, shall more be given," are to be listened to when the possessions in question are only of wisdom and virtue, let them at least prove their sincerity by correcting, first, the injustice which has established itself respecting more tangible and more esteemed property; and terminating the singular arrangement prevalent in commercial Europe that to every man with a hundred pounds in his pocket there shall annually be given three, to every man with a thousand, thirty, and to every man with nothing, none.

182. I am content here to leave under the scrutiny of the evening my general statement, that as human development, when moral, is with special effort in a given direction, so, when moral, it is with special effort in favour of a limited class; but I yet trespass for a few moments on your patience in order to note that the acceptance of this second principle still leaves it debatable to what point the disfavour of the reprobate class, or the privileges of the elect, may advisably extend. For I cannot but feel for my own part as if the daily bread of moral instruction might at least be so widely broken among the multitude as to preserve them from utter destitution and pauperism in virtue; and that even the simplest and lowest of the rabble should not be so absolutely sons of perdition, but that each might say for himself,—"For my part—no offence to the General, or any man of quality—I hope to be saved." Whereas it is, on the contrary, implied by the habitual expressions of the wisest aristocrats, that the completely developed persons whose Justice and Fortitude—poles to the Cardinal points of virtue—are marked as their sufficient characteristics by the great Roman moralist in his phrase, "Justus, et tenax propositi," will in the course of nature be opposed by a civic ardour, not merely of the innocent and ignorant, but of persons developed in a contrary direction to that which I have ventured to call "moral," and therefore not merely incapable of desiring or applauding what is right, but in an evil harmony, prava jubentium, clamorously demanding what is wrong.

183. The point to which both Natural and Divine Selection would permit us to advance in severity towards this profane class, to which the enduring "Ecce Homo," or manifestation of any properly human sentiment or person, must always be instinctively abominable, seems to be conclusively indicated by the order following on the parable of the Talents,—"Those mine enemies, bring hither, and slay them before me." Nor does it seem reasonable, on the other hand, to set the limits of favouritism more narrowly. For even if, among fallible mortals, there may frequently be ground for the hesitation of just men to award the punishment of death to their enemies, the most beautiful story, to my present knowledge, of all antiquity, that of Cleobis and Bito, might suggest to them the fitness on some occasions, of distributing without any hesitation the reward of death to their friends. For surely the logical conclusion of the Bishop of Peterborough, respecting the treatment due to old women who have nothing supernatural about them, holds with still greater force when applied to the case of old women who have everything supernatural about them; and while it might remain questionable to some of us whether we had any right to deprive an invalid who had no soul, of what might still remain to her of even painful earthly existence; it would surely on the most religious grounds be both our privilege and our duty at once to dismiss any troublesome sufferer who had a soul, to the distant and inoffensive felicities of heaven.

184. But I believe my hearers will approve me in again declining to disturb the serene confidence of daily action by these speculations in extreme; the really useful conclusion which, it seems to me, cannot be evaded, is that, without going so far as the exile of the inconveniently wicked, and translation of the inconveniently sick, to their proper spiritual mansions, we should at least be certain that we do not waste care in protracting disease which might have been spent in preserving health; that we do not appease in the splendour of our turreted hospitals the feelings of compassion which, rightly directed, might have prevented the need of them; nor pride ourselves on the peculiar form of Christian benevolence which leaves the cottage roofless to model the prison, and spends itself with zealous preference where, in the keen words of Carlyle, if you desire the material on which maximum expenditure of means and effort will produce the minimum result, "here you accurately have it."

185. I cannot but, in conclusion, most respectfully but most earnestly, express my hope that measures may be soon taken by the Lords Spiritual of England to assure her doubting mind of the real existence of that supernatural revelation of the basis of morals to which the Bishop of Peterborough referred in the close of his paper; or at least to explain to her bewildered populace the real meaning and force of the Ten Commandments, whether written originally by the finger of God or Man. To me personally, I own, as one of that bewildered populace, that the essay by one of our most distinguished members on the Creed of Christendom seems to stand in need of explicit answer from our Divines; but if not, and the common application of the terms "Word of God" to the books of Scripture be against all question tenable, it becomes yet more imperative on the interpreters of that Scripture to see that they are not made void by our traditions, and that the Mortal sins of Covetousness, Fraud, Usury, and contention be not the essence of a National life orally professing submission to the laws of Christ, and satisfaction in His Love.

J. RUSKIN.

"Thou shalt not covet; but tradition Approves all forms of Competition."

ARTHUR CLOUGH.



INDEX.

[Transcriber's note: entries here of page numbers followed by n. should indicate that references will be found in a note on that page number. However, most of these references to notes on particular pages are inaccurate. The direct page number links, however, are accurate.]

(The references are made to the numbered paragraphs, not to the pages, and are thus applicable to every edition of the book since that of 1880.)

Accumulation of learning, its law, 73.

Accuracy and depth of study, distinct, 1857 pref.

Admiration, increase of, a test of progress in art, 167.

Almsgiving, 142. " parish, &c., 129.

Almshouses, decoration of, 115. " prejudice of poor against, 129-30.

Alpine climbing, risks of, 151.

Ambition, in youth and age, 26.

America, absence of great art in, 87. " bad shipbuilding in, 112 n. " commercial panic in, 151.

Ancestors, respect for their work insisted on, 72.

Architecture, Gothic, sculpture to be in easiest materials, 34. " " to be studied at Verona, 76. " variety in, to be demanded, 32. " " cheapens the price, ib.

Arcola, battle of, 77.

Arethusa, the, and the Belle-Poule engraving, 147.

[Greek: Arete] and art, 155.

Art, cheap, its purchase, 40. " " great art not to be too cheap, and why, 62 seq. " demand for good, and the possibility of having too much, 38. " dress, beauty of, essential to good art, 54. " education in (author's paper on), 153 seq. " function of, to exalt as well as to please, 38. " -gift and art-study, 172. " good, to be lasting in its materials and power, 39. " " to be done for and be worthy of all time, 46. " great, the expression of a great soul, 136. " has laws, which must be recognised, 157. " -intellect in a nation, cannot be created, 20-1. " its debt to Italy, 82. " labour and, 19. " " the labour to be various, easy, permanent, 31 seq. " literature and, the cost of, 67. " love of old, essential to produce new, 88. " materials of, to be lasting, 39, 42. " models in art schools, 162-4. " modern interest in, 168. " " " objects of, and old pictures, 86. " original work, the best to buy, 41. " permanency of—e.g., a painted window, 37. " -power a gift, 158. " " in a nation, how to produce, 132. " " waste of, on perishable things, 45. " preservation of works of, 73-4. " " (1857) more important than production, 92. " price of good, 41. See s. Pictures. " progress in, tested by increased imagination, 167. " public to demand noble subjects of, 29. " " effect of public demand on, 165. " repetition in, monotonous, 32. " schools, trial, 22-3. " " provincial, to have good art-models, 169. " students, 153 seq. " -study will not "pay," 174. " test of good, will it please a century hence? 39. " value of, depends on artist's capacity, not education, 136. " variety of work, 32. " work, hard, needed for, 158. " works of, illustrate each other, 63. " works of, property in, 147. " " provincial distribution of, 169. " " their conservative effect, 132 n. " " to be lasting, 36. See s. Admiration, America, Architecture, Arethusa, Arete, Artist, Beauty, Buildings, Cheapness, Colour, Criticism, Design, Diletto, Drawing, Dress, Education, Europe, Florence, France, Genius, Glass, Gold, Goldsmiths, Historical painting, Indian shawls, Italy, Jewels, Labour, Lace, Lombard, Marble, Mosaic, Painter, Philosophy, Pictures, Reverence, Schools, Trade, Wall-paper, War, Water colour, Wealth, Woodcuts.

Artist, education of the, to be a gentleman—i.e., feel nobly, 28. " encouragement of, in youth, 23. " goldsmith's work, good training for, 46. " greatest, have other powers than their art, 21. " jealousy among, 98. " modern training of, 132. " nascitur non fit, 20. " temper of, what, 132. " to be a good man, 28. " trial schools to discover, 22-3. See s. Duerer, Francia, Gainsborough, Ghiberti, Ghirlandajo, Giotto, Leonardo, Lewis, Lorenzetti, Michael Angelo, Rembrandt, Reynolds, Tintoret, Titian, Turner, Veronese, Verrocchio.

"Asphodel meadows of our youth," 26.

Athletic games and education, 128.

Austrians, in Italy, 78.

Author, his idea of a knight, when a child, 106. " " teaching young lady to copy old MS., 180. life of: at Brantwood, April 29, 1880. " Manchester, July 10 and 13, 1857, 1, 61. " Metaphysical Society, 1875, 175. " Oxford, art teaching, pref. ix. " Working Men's College, 156. " Venice, 141 n. " teaching of: misunderstood, 180. political economy, has read no modern books on, 1857 pref. political influence of art, 1880 pref. true wealth honoured by, 1. words fail him to express modern folly, 49. " books of, quoted, &c.: " A Joy for Ever" contains germs of subsequent work, 1880 pref. " revision for press, 1857 pref. " title, 1880 pref. on his own writings, 140. they cost him pain, and he does not expect then to give pleasure, 1880 pref.

Barataria, the island of ("Don Quixote "), 65.

Beauty in art, on what based, vi.

Bible, The, to be realised as (not only called) God's Word 185.

Quoted, or referred to. Job iii. 3, "Let the day perish wherein I was born ... a child conceived, 119. " xxxi. 40, "Let thistles grow instead of wheat," &c., 101. Ps. xxxii. 8, "I will guide thee with mine eye," 18. " xxxii. 9, "Be ye not as the horse or mule," 18. " c. 4, "Enter into His gates with thanksgiving," 1880 pref. Prov. i. 20, "Wisdom uttereth her voice in the streets," 112 n. " iii. 15, "Wisdom more precious than rubies," 174. " iii. 16, "Length of days are in her right hand," &c., 130. " iii. 17, "Her ways pleasantness and her paths peace," 120. " xiii. 23, "Much food is in the tillage of the poor," 7 n. " xxxi. 15, "She riseth while it is yet night," 9, 58. " xxxi. 25, "Strength and honour are in her clothing," &c., 60. Hab. ii., its practical lessons, 112 n. " ii. 6, "Woe to him ... that ladeth himself with thick clay," 112 n. " ii. 12, "Woe to him that buildeth a town with blood," 112 n. " ii. 13, "The people weary themselves for vanity," 112 n. Zach. vii. 9, 10, "Execute true judgment ... and let none imagine evil," &c., 112 n. Matt. vii. 16, "Gather figs of thistles," 133. Luke xix. 26, "To him that hath shall be given," 181. " xix. 27, "Those mine enemies bring hither and slay them before me, 183. 2 Thess. iii. 10, "If any work not, neither shall he eat," 145.

Books, not to be too cheap, and why, 65. " numbers of, nowadays, and the result, 140.

Botany, what to learn in, 128.

Bridle of man, the Eye of God, 18.

Brotherhood—"All men are brothers," what it implies, 14. " politically and divinely, 121.

Browning, E. B., on Italy, 78 n.

Buildings, public, their decoration, 104.

Capitalist, the, his command over men, 4.

Carlyle, T., on the value of horses and men, 18. " "keen words" of, quoted, 184.

Casa Guidi, windows of the, referred to, 36 n.

Charity, crowning kingship (Siena fresco), 59. " in preserving health, not in protracting disease, 184. " is guidance, 127. " not a geographical virtue, 81. " true, defined, 118.

Charon, 3.

Chartres, 86.

Cheapness not to be considered in producing art, 37. " of good art, undesirable and why, 62 seq.

Cheating disgraceful, but being cheated is not, 89.

Church-going and life, 14. " restoration, mania for, 86-7.

Clarke, Dr. Adam, at the Metaphysical Society, 176.

Cleobis and Bito, death of, 109. " story of, beautiful, 183.

Clergymen, to preach practically—e.g., on trade, 112 n.

Cleverness, best shown in sympathy with the aims of others, 170.

Clough, Arthur, quoted, 185 n.

Cocoa-nut, simile from a, as to the cheapness of good art, 64.

Colour, good, to be lasting, 44. " local, as an element of chiaroscuro, 162.

Commerce, cowardice and, 177. " frauds of, 151-2. " modern, 1857 pref. xi.

Competition, a bad thing in education, 135.

Conservatism, true, 58.

Country, serving one's, with plough, pen, and sword, 129.

Cricket, the game of, 128.

Criticism, mistaken blame worse than mistaken praise, 24. " public, its effect on artists, 24.

Currency, national, its nature, 149.

Dante—Inferno, the purse round the neck as a sign of condemnation, 4. " " Lasciate ogni speranza, 93.

Deane, Sir T., on the Oxford Museum, 32.

Death, as a reward, 183.

Design, dependent on proportion, 160. " study of, 159. " subjects of, 172-3.

Development, the direction of human, 175.

Dialogue on "paternal government," 121.

Diamond-cutting, waste of time, 34.

Dictionary of classical antiquities, woodcuts in, 107.

"Diletto" and art, 155.

Diogenes, respected, 2-3.

Discipline the basis of progress, 16.

Discovery of men of genius, 20.

Disobedience destroys power of understanding, 1857 pref. x.

Drawing as a means of description, 153. " lessons, 156. " to be learnt, as reading or writing, 153, 158. " to scale, to be learnt, 160.

Dress, art of, 47. " beautiful, essential to great art—e.g., its portraiture, 54. " " characteristics of, 54. " " a means of education, 54. " best, not the costliest, 54. " employment of labour—e.g., ball-dresses, 50. " fashion in, wasted power of design, 45. " fine, the spoils of death, 53. " " as a subject of expenditure, 146. " " under what circumstance, right and wrong, 52. " lace, its value, 171.

Duerer's engravings, art-models, 169. " " permanency of, 42. " " crest with cock, as art-model, 164. " woodcuts, 40.

Economy, its true meaning (application: accumulation: distribution), 8 seq. " the art of managing labour, 7, 8. " the balance of splendour and utility, 10. " does not mean saving money, 8. " simile of farm life, 11. " the laws of, same for nation and individual, 12 seq. See s. Almsgiving, Author, Capitalist, Charity, Cheating, Commerce, Currency, Education, Employment, England, Farm, Gentlemen, Gold, Labour, Land, Luxury, Money, National works, Panics, Parish relief, Pension, Political Economy, Poor, Poverty, Property, Trade, Wealth.

Education, best claimed by offering obedience, 16. " drawing to be part of, 156. " dress as a means of, 54. " eye, the best medium of, 106. " formative, not reformative only, 15. " in Art, author's paper on, 153 seq. " liberty to be controlled by, 128. " manual trade to be learnt by all youths, 128. " modern, 135. " " in England, its bad tendency, 177. " schools of, to be beautiful, 104-5. " refinement of habits, a part of, 104. " waste of, on dead languages, 128. " young men, their, 134.

Edward I., progress since the days of, 1857 pref.

Emotion, quickness of, is not capacity for it, 132.

Employment, may be claimed by the obedient, 16.

England, art-treasures in, their number, 5. " modern, its ugliness, 176. " the rich men of, their duty, 118-9.

English character, impulse and prudence of, 17. " " self-dependence, 130.

Envy, vile, 177.

Europe, no great art, except in, 87.

Examinations, their educational aim and value, 136.

Eye, the, nobler than the ear, and a better means of education, 106.

Faith, frescoes of, Ambrozio Lorenzetti, Siena, 57. " kinds of, 57.

Famine, how it comes, 133.

Fancy, as essential to fine manufacture, 172.

Farm, metaphor of a, applied to national economy, 11.

Fashion, change of, as wasting power of design, 45.

Florence, art and dress of, 54. " drawing at, 1400-1500, art-models, 169.

Fools, the wise to take of the, 118.

France, art in, great, and beautiful dress, 54. " English prejudice against, 81. " social philosophy in, "fraternite" a true principle, 14.

Francia, a goldsmith, 46.

Frescoes, whitewashing of Italian, 85.

Fraternity implies paternity, 14 (cp. Time and Tide, 177).

Funeral, English love of a "decent," 70.

Gainsborough, his want of gentle training, 28. " learns from Italian art, 82.

Genius, men of, and art, four questions as to (production, employment, accumulation, distribution), 19. " " their early struggles, due to their starting on wrong work, 23.

Gentlemen, tradesmen to be accounted, 114.

Ghiberti's gates, M. Angelo on, 46. " a goldsmith, 46.

Ghirlandajo, a goldsmith, 46. " M. Angelo's master, 46.

Giotto's frescoes, Assisi, perishing for want of care, 86. " discovered by Cimabue, 133.

Glass, cut, waste of labour on, 34. " painted, French 1200-1300, the best, 169.

God always sends men for the work, but we crush them, 133. " His work, its fulfilment by men, 122.

Gold, its uses, as a medium of exchange, 150. " " incorruptible and to be used for lasting things, 46. " " not therefore to be used for coinage, 46.

Goldsmiths, artists who have been, 46. " educational training for artists, 46 n. " work of, 45 seq.

Government, enforcement of divine law, 121. " in details, 122 seq. " paternal, 14. " " "in loco parentis," 16 n. " " defined, 121. " principles of, at the root of economy, 11 " " Faith, Hope, Charity, 57. " to be conservative, but expectant, 58. " to form, not only reform, 15. " to give work to all who want it, 129.

Great men and the public, 137 " the work they are sent to do, 133

Greatness, the humility of, 137.

Greece, development of physical beauty, 176.

Guilds of trade, decoration of their buildings, 116 seq.

Hesiod's "Eris", 176.

Historians, mistaken way of pointing out how great men are fitted for their work, 133.

Historical painting as a means of education, 106-7.

History, the study of mediaeval, as well as ancient, insisted on, 109.

Horace, "justus, et propositi tenax," 182. " "prava jubentium," ib.

Horse and man, bridling of, 18.

Hospitals, decoration of, 114.

Housewife, her seriousness and her smile, 10.

Housewifery, perfect, 10.

Humility of greatness, 137. " the companion of joy and usefulness, 168.

Illustrations, modern, bad art of, 40.

Independence, dishonest efforts after, 131.

Indian shawls, design of, 173.

Industry, its duty to the past and future, 72.

Infidelity, modern, 177.

Invention, national, of new wants, 138.

Inventors, to be publicly rewarded, but to have no patents, 113.

Island, desert, analogy of a, and political economy, 110.

Italy, Austrians in, 78. " cradle of art, 82. " destruction of art in modern, 84. " modern art of, 85. " state of, 1857, 84. " thunderclouds in, "the winepress of God's wrath," 77.

Italian character, 84.

Jewels, cutting of, 52. " modern, bad and costly, 159. " property in, 146.

Jews, Christian dislike of, 81.

Keats, quoted, "a joy for ever," 1880 pref. ix-x.

King, the virtues of a (Siena fresco), 60.

Kingship, crowned by charity (Siena fresco), 59. " modern contempt for, 177.

Labour, a claim to property, 145. " constant, not intermittent, needed, 11. " end of, is happiness, not money, 174. " " to bring the whole country under cultivation, 12. " management of, is economy, 7. " organisation of, no "out of work" cry, 11-12. " " under government, planned, 127-31. " sufficiency of a man's labour for all his needs, 7. " " " nation's " its " 7.

Labour, continued;— " waste of, in various kinds of useless art, cut-glass, mosaic, &c, 34. " " dress, 50 seq.

Lace-making, 52. " machine and hand-made, 170. " value of, in its labour, 171.

Laissez-aller, a ruinous principle, 16.

Land, the laws of cultivation, the same for a continent as for an acre, 12. -owners, their duties, 143.

Law and liberty, 123. " most irksome, when most necessary, 15. " principles of, applied to minor things, 123. " should regulate everything it can, 126. " systems of, none perfect, 124. " to be protective, not merely punitive, 15.

Legislation, paternal, dialogue on, 121.

Leonardo da Vinci, an engineer, 21. " " " pupil of Verrocchio, 46. " " "work by, at Florence, 164.

Leonidas' death, 109.

Lewis, John, his work, and its prices, 102 n.

Liberalism in government, true, 58.

Liberty, law and, 123. " to be interfered with, for good of nation, 123-26.

Life, battles of early, for men of genius, 23. " ideal of, simplicity plus imagination, 147.

Literature, cheap, modern, 65.

Lombard architecture at Pisa and Verona, 76.

London season, cost of, in dress, 55.

Look, people will not, at things, 141.

Lorenzetti, Ambrozio, his frescoes of "government" at Siena, 57.

Love and Kingship, see s. Charity.

Luxury, articles of, as "property," 146. " does not add to wealth, 48. " the influences of, 138.

Macaulay's false saying, "the giants of one age, the pigmies of the next," 168.

Magnanimity, the virtue of, its full meaning, 60.

Mammon worship, in English commercial centres, 151.

Manchester Art Treasures Exhibition 1858, 5, 69. " " motto of, "A joy for ever," 1880 pref.

Mansfield Art Night Class, address to, 1873, 166 seq.

Manufacture, defined, 169.

Marathon, 109.

Marble, a better material for sculpture than granite, 34.

Marriage, desire for, in girls, 55.

Medici, Pietro de, orders M. Angelo's snow-statue, 36.

Menippus, 3.

Metaphysical Society, author, May 4, 1875, reads paper at, 175.

Michael Angelo, author's praise of, 36. " " Ghirlandajo's pupil, 46. " " on Ghiberti's gates, 46. " " snow-statue, 36.

Mill, J. S., on wealth, 145n. " " on women, 180.

Misery, always the result of indolence or mistaken industry, 7.

Mistress, of a house, ideal, described, 9, 10.

Modernism, contempt for poverty and honour of wealth, 1 seq. See s. Commerce, Education, England, Italy, Wealth.

Money, a document of title, 148. " God's gift and not our own, and why, 116 seq. " great work never done for, 98, 102. " spending, is to employ labour, 48. " the way we spend it, important, 48-9.

Morality, mechanical basis of, 176. " not to be limited to a class, 182.

Moral sense, the, defined, 177.

Mosaic, Florentine, waste of labour, 34.

Motive, the only real, and rightness, 81.

Mourning, English love of, 70.

Museums, provincial, art-models for, 169.

National works, as a means of art employment, 24.

Nations in "brotherly concord and fatherly authority," 14. " energy of, to be directed, 16. " laws of, to be protective as well as punitive, 14.

Natural forms, as subjects of design, 172. " History, the study of, to be extended, 155. " Science, and drawing, 156.

New York, council of, on luxury, 138n.

Nottingham lace, 170.

Novara, battle of, 77.

Obedience, to what we dislike, 1857 pref.

Obstinacy of great men against the public, 137-8.

Overwork, decried, 11.

Oxford Museum, Sir T. Deane on the, 32.

Painter, poverty of early years, 100. " prices paid to a, 98.

Panics, commercial—e.g., 1857, 151.

Paper, necessity of good, for water-colour art, 43.

Parable, The Ten Talents, its practical application, 114-15.

Parents, noble delight of pleasing one's, possible only to the young, 27.

Paris, destruction of, 1870-1, 168.

Parish relief, no more infra dig. than State pensions, 129.

Patents, no, but private inventions to be publicly rewarded, 113.

Patriotism, what, 81.

Pensions, are Government alms, 129.

Peterborough, Bishop of, paper read at Metaphysical Society, 176, 183, 185.

Photography, as a means of providing art-models, 164. " collections of Florentine Gallery photos, ib.

Pictures, copies of, to be made, but not to be bought, 90. " dealers, and old pictures, 85. " destruction of, 69. " galleries, in all great cities, 91. " " their supervision and curators, 93. " pictorial method of education, 106 seq. " price of, 101, 38.

Pictures, price of, continued:— " " effect of high prices on artists and on art, 97 seq. " " by living artists, shows not value, but demand, 101. " " by dead and living masters, 103. " " modern prices, 38. " " of oil and water-colour, 102 n. " " to be limited but not too cheap, 66, 95-6. " private possession of, its value, 93-4. " purchase of, private buyers to buy the works of living artists, the public those of dead, 103, 94, 5. " " for ostentation, 101. " " the government to buy great works, 89. " restoration of, notes of, to be kept for reference, 94 n. " " in Italy, 85. " sale of a picture, its politico-economical effect, 132 n. " studies for, tracings, and copies of, to be kept, 90 seq.

Pisa, architecture at, 76. " Campo Santo, The, 82.

Plate, changes of fashion in, deplored, 45. " gold and silver to be gradually accumulated, not melted down and remodelled, 46.

Ploughing, boys to learn, 128.

Political economists, their thrift, 89. " Economy, modern books on, 1857 pref. " " the aim of true, 145. " " is citizen's economy, 1857 pref. " " definition and true meaning of, 132 n. " " first principles of, simple but misunderstood, 1857 pref. " " its questions to be dealt with one by one, 38. " " study of, to be accurate, if not deep, 1857 pref. " " secrecy in trade bad, 110 seq. " " See s. Economy.

Politics, English, 82. " European, 1848, 1857, 80. " See s. Conservatism, Liberalism.

Poor, the, their right to State education and support, 127.

Poor, the, continued;— " are kept at the expense of the rich, 127 n. " to be taken care of, 118.

Poverty, classical writers on, 2. " mediaeval view of, 4. " modern contempt for, just and right, 1 seq.

Posterity, thought for, 72.

Praise, only the young can enjoy, for the old are above it, if they deserve it, 26.

Pride, as a motive of expenditure, 79.

Prize-giving, a bad thing in education, 135. " its true value and meaning, 166.

Productive and unproductive transactions, 132 n.

Progress, modern, since Edward I., 1857 pref.

Property, division of, into things producing (a) life, (b) the objects of life, 144 seq. " the right of, to be acknowledged, 142.

Providence, notion of a special, 133.

Public, the, favour of, 137. " great men and, 137. " impatient of what it cannot understand, 140-1.

Punishment, the rationale of human, 123.

Purse-pride, modern and ancient, 2.

Railway speed, 86.

Raphael's Disputation, 147.

Religion, national, its beauty, pref.

Rembrandt's "spotted shell" as a model in etching, 164.

Renaissance architecture at Verona, 76.

Restraint, the law of life, 16.

Reverence for art, a test of art power, 167.

Reynolds, Sir J., learns much from Italian art, 82. " portraits of, models of art, 169.

Rich, the duty of the strong and, 118.

Riding, as part of education, 128.

Rowing, as part of education, 128.

St. Albans, Duke of, reads paper for author at Mansfield, 166 n.

St. Louis' chapel at Carcassonne, painting, 86.

Salvation, not to be limited to a class, 182.

School Board, the, 177.

Schools of art, bare schoolrooms do not fix the attention, 105. " " decoration of, reasons for, 104. " " proposals for, 132.

Science, controversy in, too much nowadays, 175. " education in, 128. " the bridal city of, 175.

Selection, Natural, and Social Policy, paper by author, 175.

Shakespeare's Cliff, 89.

Siena, frescoes of Antonio Lorenzetti, 57.

Smith, Adam, 1857 pref.

Soldiers of the ploughshare as well as of the sword, 15.

Speculation, commercial, 151.

Spider, web of a, 170.

Street, Mr., on the Ducal Palace, 141 n.

Students in art, not to aim at being great masters, 168.

Surfaces, drawing of round, &c., 161.

Sympathy, the cleverness of, 170.

Systems, not easily grasped, 128.

Taste, defined, 154. " education of, 160.

Tennyson, In Mem. LV. "Of fifty seeds, she often brings but one to bear," 133 (cp. Time and Tide, 67).

Thought, not to take the place of fact, 141.

Time, man is the true destroyer, not, 74.

Times, The, Nov. 23, 1857, referred to, 138 n.

Tintoret's St. Sebastian (Venice), perishing, 86.

Titian, eternally right, 157. " sketch by (Florence), 164. " woodcuts of, 70.

Tombs, English waste of money on, 78.

Trade, art-faculty, its employment in design in, 30. " freedom from rivalry, healthful, 110 seq. " government direction of, 129. " guilds, decoration of their buildings, 110 seq.

Trade, guilds, continued:— " " under public management, 114. " secrecy of, bad, 110 seq. " true co-operation in, what, 112. " youths to learn some manual, 128.

Tradesmen, their modern social position wrong, 114.

Truth, dependent on justice and love, 152.

Turner, prices of his pictures, when a boy, 98. " his want of gentle training, 28.

Ugliness, is evil, 177.

Usury, a "mortal sin," 185.

Utility, not to be the sole object of life, 10.

Vellum, for water-colour drawing, 43.

Venice, art of, aided by beautiful dress, 54. " Ducal Palace, chronology of the capital, 141 n.

Verona, amphitheatre of, 76. " battle-fields of, 77. " greatest art-treasury in the world, 76 seq. " typical of Gothic architecture, 76.

Veronese, P., eternally right, 157. " "Family of Darius," purchased by National Gallery, for L14,000, 55.

Verrocchio, a goldsmith, 46. " master of Leonardo, 46.

Virtues, the, fresco of, by A. Lorenzetti, at Siena, 57. " winged (Siena), ib. seq.

Wages, fixed rate of, advocated, 113, 129.

Wall-paper, 159.

Wants, the invention of new, 138.

War, destruction of works of art by, 75.

Water-colour drawings, perishable, and why, 42. " " to be on vellum, not paper, 43.

Wealth, author's respect for true, 1. " duty and, 119-20. " earned and inherited, 143.

Wealth, continued:— " freedom of spending, to be allowed, 142. " how gained, 117. " means well-being, 147. " mediaeval view of, 4. " modern honour paid to, 1, 2. " power of, 4. " principles of, 114 seq. " works of art, how far they are, 132 n.

Wealthy, the, "pilots of the State," 119, 142. " " claims of the poor on, 143. " " way in which they should spend their money, 143.

Wisdom, preciousness of, 174.

Women, education of, drawing, 158-9. " J. S. Mill on the position of, 180.

Woodcuts, cheap and nasty, 40.

Wordsworth's essay on the Poor Law Amendment Bill, 16 n.

Workhouses, to be worthy their name, 114.

Working-men's College, drawing at the, 156.

Youth, encouragement good for, 26 seq. " of a nation, to be guarded, 134. " work of a, necessarily imperfect, but blameable, if bold or slovenly, 25.

THE END.

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