A Joy For Ever (and Its Price in the Market)

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

1

Proverbs xiii. 23: "Much food is in the tillage of the poor, but there is that is destroyed for want of judgment."

2

See note 1st, in Addenda.

3

Compare Wordsworth's Essay on the Poor Law Amendment Bill. I quote one important passage: "But, if it be not safe to touch the abstract question of man's right in a social state to help himself even in the last extremity, may we not still contend for the duty of a Christian government, standing in loco parentis towards all its subjects, to make such effectual provision that no one shall be in danger of perishing either through the neglect or harshness of its legislation? Or, waiving this, is it not indisputable that the claim of the State to the allegiance, involves the protection of the subject? And, as all rights in one party impose a correlative duty upon another, it follows that the right of the State to require the services of its members, even to the jeopardizing of their lives in the common defence, establishes a right in the people (not to be gainsaid by utilitarians and economists) to public support when, from any cause, they may be unable to support themselves."—(See note 2nd, in Addenda.)

4

See note 3rd, in Addenda.

5

See note 4th, in Addenda.

6

See the noble passage on this tradition in "Casa Guidi Windows."

7

Several reasons may account for the fact that goldsmith's work is so wholesome for young artists: first, that it gives great firmness of hand to deal for some time with a solid substance; again, that it induces caution and steadiness—a boy trusted with chalk and paper suffers an immediate temptation to scrawl upon it and play with it, but he dares not scrawl on gold, and he cannot play with it; and, lastly, that it gives great delicacy and precision of touch to work upon minute forms, and to aim at producing richness and finish of design correspondent to the preciousness of the material.

8

See note in Addenda on the nature of property.

9

See note 5th, in Addenda.

10

See note 6th, in Addenda.

11

The reader can hardly but remember Mrs. Browning's beautiful appeal for Italy, made on the occasion of the first great Exhibition of Art in England:—

Magi of the east and of the west,Your incense, gold, and myrrh are excellent!—What gifts for Christ, then, bring ye with the rest?Your hands have worked well. Is your courage spentIn handwork only? Have you nothing best,Which generous souls may perfect and present,And He shall thank the givers for? no lightOf teaching, liberal nations, for the poor,Who sit in darkness when it is not night?No cure for wicked children? Christ,—no cure,No help for women, sobbing out of sightBecause men made the laws? no brothel-lureBurnt out by popular lightnings? Hast thou foundNo remedy, my England, for such woes?No outlet, Austria, for the scourged and bound,No call back for the exiled? no repose,Russia for knouted Poles worked underground,And gentle ladies bleached among the snows?No mercy for the slave, America?No hope for Rome, free France, chivalric France?Alas, great nations have great shames, I say.No pity, O world, no tender utteranceOf benediction, and prayers stretched this wayFor poor Italia, baffled by mischance?O gracious nations, give some ear to me!You all go to your Fair, and I am oneWho at the roadside of humanityBeseech your alms,—God's justice to be done.So, prosper!

12

It would be a great point gained towards the preservation of pictures if it were made a rule that at every operation they underwent, the exact spots in which they have been repainted should be recorded in writing.

13

When this lecture was delivered, I gave here some data for approximate estimates of the average value of good modern pictures of different classes; but the subject is too complicated to be adequately treated in writing, without introducing more detail than the reader will have patience for. But I may state, roughly, that prices above a hundred guineas are in general extravagant for water-colours, and above five hundred for oils. An artist almost always does wrong who puts more work than these prices will remunerate him for into any single canvas—his talent would be better employed in painting two pictures than one so elaborate. The water-colour painters also are getting into the habit of making their drawings too large, and in a measure attaching their price rather to breadth and extent of touch than to thoughtful labour. Of course marked exceptions occur here and there, as in the case of John Lewis, whose drawings are wrought with unfailing precision throughout, whatever their scale. Hardly any price can be remunerative for such work.

14

It would be well if, instead of preaching continually about the doctrine of faith and good works, our clergymen would simply explain to their people a little what good works mean. There is not a chapter in all the book we profess to believe, more specially and directly written for England than the second of Habakkuk, and I never in all my life heard one of its practical texts preached from. I suppose the clergymen are all afraid, and know their flocks, while they will sit quite politely to hear syllogisms out of the epistle to the Romans, would get restive directly if they ever pressed a practical text home to them. But we should have no mercantile catastrophes, and no distressful pauperism, if we only read often, and took to heart, those plain words:—"Yea, also, because he is a proud man, neither keepeth at home, who enlargeth his desire as hell, and cannot be satisfied,—Shall not all these take up a parable against him, and a taunting proverb against him, and say, 'Woe to him that increaseth that which is not his: and to him that ladeth himself with thick clay'?" (What a glorious history in one metaphor, of the life of a man greedy of fortune!) "Woe to him that coveteth an evil covetousness that he may set his nest on high. Woe to him that buildeth a town with blood, and establisheth a city by iniquity. Behold, is it not of the Lord of Hosts that the people shall labour in the very fire, and the people shall weary themselves for very vanity?"

The Americans, who have been sending out ships with sham bolt-heads on their timbers, and only half their bolts, may meditate on that "buildeth a town with blood."

15

If the reader is displeased with me for putting this foolish speech into his mouth, I entreat his pardon; but he may be assured that it is a speech which would be made by many people, and the substance of which would be tacitly felt by many more, at this point of the discussion. I have really tried, up to this point, to make the objector as intelligent a person as it is possible for an author to imagine anybody to be who differs with him.

16

It is very curious to watch the efforts of two shop-keepers to ruin each other, neither having the least idea that his ruined neighbour must eventually be supported at his own expense, with an increase of poor rates; and that the contest between them is not in reality which shall get everything for himself, but which shall first take upon himself and his customers the gratuitous maintenance of the other's family.

17

It will be observed that, in the lecture, it is assumed that works of art are national treasures; and that it is desirable to withdraw all the hands capable of painting or carving from other employments, in order that they may produce this kind of wealth. I do not, in assuming this, mean that works of art add to the monetary resources of a nation, or form part of its wealth, in the vulgar sense. The result of the sale of a picture in the country itself is merely that a certain sum of money is transferred from the hands of B, the purchaser, to those of A, the producer; the sum ultimately to be distributed remaining the same, only A ultimately spending it instead of B, while the labour of A has been in the meantime withdrawn from productive channels; he has painted a picture which nobody can live upon, or live in, when he might have grown corn or built houses: when the sale therefore is effected in the country itself, it does not add to, but diminishes, the monetary resources of the country, except only so far as it may appear probable, on other grounds, that A is likely to spend the sum he receives for his picture more rationally and usefully than B would have spent it. If, indeed, the picture, or other work of art, be sold in foreign countries, either the money or the useful products of the foreign country being imported in exchange for it, such sale adds to the monetary resources of the selling, and diminishes those of the purchasing nation. But sound political economy, strange as it may at first appear to say so, has nothing whatever to do with separations between national interests. Political economy means the management of the affairs of citizens; and it either regards exclusively the administration of the affairs of one nation, or the administration of the affairs of the world considered as one nation. So when a transaction between individuals which enriches A impoverishes B in precisely the same degree, the sound economist considers it an unproductive transaction between the individuals; and if a trade between two nations which enriches one, impoverishes the other in the same degree, the sound economist considers it an unproductive trade between the nations. It is not a general question of political economy, but only a particular question of local expediency, whether an article, in itself valueless, may bear a value of exchange in transactions with some other nation. The economist considers only the actual value of the thing done or produced; and if he sees a quantity of labour spent, for instance, by the Swiss, in producing woodwork for sale to the English, he at once sets the commercial impoverishment of the English purchaser against the commercial enrichment of the Swiss seller; and considers the whole transaction productive only as far as the woodwork itself is a real addition to the wealth of the world. For the arrangement of the laws of a nation so as to procure the greatest advantages to itself, and leave the smallest advantages to other nations, is not a part of the science of political economy, but merely a broad application of the science of fraud. Considered thus in the abstract, pictures are not an addition to the monetary wealth of the world, except in the amount of pleasure or instruction to be got out of them day by day: but there is a certain protective effect on wealth exercised by works of high art which must always be included in the estimate of their value. Generally speaking, persons who decorate their houses with pictures will not spend so much money in papers, carpets, curtains, or other expensive and perishable luxuries as they would otherwise. Works of good art, like books, exercise a conservative effect on the rooms they are kept in; and the wall of the library or picture gallery remains undisturbed, when those of other rooms are repapered or re-panelled. Of course this effect is still more definite when the picture is on the walls themselves, either on canvas stretched into fixed shapes on their panels, or in fresco; involving, of course, the preservation of the building from all unnecessary and capricious alteration. And, generally speaking, the occupation of a large number of hands in painting or sculpture in any nation may be considered as tending to check the disposition to indulge in perishable luxury. I do not, however, in my assumption that works of art are treasures, take much into consideration this collateral monetary result. I consider them treasures, merely as permanent means of pleasure and instruction; and having at other times tried to show the several ways in which they can please and teach, assume here that they are thus useful, and that it is desirable to make as many painters as we can.

18

I have given the political economist too much credit in saying this. Actually, while these sheets are passing through the press, the blunt, broad, unmitigated fallacy is enunciated, formally and precisely, by the common councilmen of New York, in their report on the present commercial crisis. Here is their collective opinion, published in the Times of November 23rd, 1857:—"Another erroneous idea is that luxurious living, extravagant dressing, splendid turn-outs and fine houses, are the cause of distress to a nation. No more erroneous impression could exist. Every extravagance that the man of 100,000 or 1,000,000 dollars indulges in adds to the means, the support, the wealth of ten or a hundred who had little or nothing else but their labour, their intellect, or their taste. If a man of 1,000,000 dollars spends principal and interest in ten years, and finds himself beggared at the end of that time, he has actually made a hundred who have catered to his extravagance, employers or employed, so much richer by the division of his wealth. He may be ruined, but the nation is better off and richer, for one hundred minds and hands, with 10,000 dollars apiece, are far more productive than one with the whole."

Yes, gentlemen of the common council; but what has been doing in the time of the transfer? The spending of the fortune has taken a certain number of years (suppose ten), and during that time 1,000,000 dollars' worth of work has been done by the people, who have been paid that sum for it. Where is the product of that work? By your own statements, wholly consumed; for the man for whom it has been done is now a beggar. You have given therefore, as a nation, 1,000,000 dollars' worth of work, and ten years of time, and you have produced, as ultimate result, one beggar. Excellent economy, gentlemen! and sure to conduce, in due sequence, to the production of more than one beggar. Perhaps the matter may be made clearer to you, however, by a more familiar instance. If a schoolboy goes out in the morning with five shillings in his pocket, and comes home penniless, having spent his all in tarts, principal and interest are gone, and fruiterer and baker are enriched. So far so good. But suppose the schoolboy, instead, has bought a book and a knife; principal and interest are gone, and book-seller and cutler are enriched. But the schoolboy is enriched also, and may help his school-fellows next day with knife and book, instead of lying in bed and incurring a debt to the doctor.

19

There can be no question, however, of the mischievous tendency of the hurry of the present day, in the way people undertake this very looking. I gave three years' close and incessant labour to the examination of the chronology of the architecture of Venice; two long winters being wholly spent in the drawing of details on the spot; and yet I see constantly that architects who pass three or four days in a gondola going up and down the Grand Canal, think that their first impressions are just as likely to be true as my patiently wrought conclusions. Mr. Street, for instance, glances hastily at the façade of the Ducal Palace—so hastily that he does not even see what its pattern is, and misses the alternation of red and black in the centres of its squares—and yet he instantly ventures on an opinion on the chronology of its capitals, which is one of the most complicated and difficult subjects in the whole range of Gothic archæology. It may, nevertheless, be ascertained with very fair probability of correctness by any person who will give a month's hard work to it, but it can be ascertained no otherwise.

20

This point has sometimes been disputed; for instance, opening Mill's 'Political Economy' the other day, I chanced on a passage in which he says that a man who makes a coat, if the person who wears the coat does nothing useful while he wears it, has done no more good to society than the man who has only raised a pineapple. But this is a fallacy induced by endeavour after too much subtlety. None of us have a right to say that the life of a man is of no use to him, though it may be of no use to us; and the man who made the coat, and thereby prolonged another man's life, has done a gracious and useful work, whatever may come of the life so prolonged. We may say to the wearer of the coat, "You who are wearing coats, and doing nothing in them, are at present wasting your own life and other people's;" but we have no right to say that his existence, however wasted, is wasted away. It may be just dragging itself on, in its thin golden line, with nothing dependent upon it, to the point where it is to strengthen into good chain cable, and have thousands of other lives dependent on it. Meantime, the simple fact respecting the coat-maker is, that he has given so much life to the creature, the results of which he cannot calculate; they may be—in all probability will be—infinite results in some way. But the raiser of pines, who has only given a pleasant taste in the mouth to some one, may see with tolerable clearness to the end of the taste in the mouth, and of all conceivable results therefrom.

21

Or rather, equivalent to such real property, because everybody has been accustomed to look upon it as valuable; and therefore everybody is willing to give labour or goods for it. But real property does ultimately consist only in things that nourish body or mind; gold would be useless to us if we could not get mutton or books for it. Ultimately all commercial mistakes and embarrassments result from people expecting to get goods without working for them, or wasting them after they have got them. A nation which labours, and takes care of the fruits of labour, would be rich and happy though there were no gold in the universe. A nation which is idle, and wastes the produce of what work it does, would be poor and miserable, though all its mountains were of gold, and had glens filled with diamond instead of glacier.

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.

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.