and Millais' "Return of the Dove." On the 13th his letter appeared in _The Times_, and on the 26th he wrote again, pointing out beauties, and indications of power in conception, and observation of Nature, and handling, where at first he, like the rest of the public, had been repelled by the wilful ugliness of the faces. Meanwhile the Pre-Raphaelites wrote to tell him that they were neither Papists nor Puseyites. The day after his second letter was published he received an ill-spelt missive, anonymously abusing them. This was the sort of thing to interest his love of poetical justice. He made the acquaintance of several of the Brethren. "Charley" Collins, as his friends affectionately called him, was the son of a respected R.A., and the brother of Wilkie Collins; himself afterwards the author of a delightful book of travel in France, "A Cruise upon Wheels." Millais turned out to be the most gifted, charming and handsome of young artists. Holman Hunt was already a Ruskin-reader, and a seeker after truth, serious and earnest in his religious nature as in his painting.

The Pre-Raphaelites were not, originally, Ruskin's pupils, nor was their movement, directly, of his creation. But it was the outcome of a general tendency which he, more than any man, had helped to set in motion; and it was the fulfilment, though in a way he had not expected, of his wishes.

His attraction to Pre-Raphaelitism was none the less real because it was sudden, and brought about partly by personal influence. And in re-arranging his art-theory to take them in, he had before his mind rather what he hoped they would become than what they were. For a time, his influence over them was great; their first three years were their own; their next three years were practically his; and some of them, the weaker brethren, leaned upon him until they lost the command of their own powers. No artist can afford to use another man's eyes; still less, another man's brain and heart. Ruskin, great as an exponent, was in no sense a master of artists; and if he cheered on the men, who, he believed, were the best of the time, it did not follow that he should be saddled with the responsibility of directing them.

The famous pamphlet on "Pre-Raphaelitism" of August, 1851, showed that the same motives of Sincerity impelled both the Pre-Raphaelite Brethren and Turner and, in a degree, men so different as Prout, old Hunt, and Lewis. All these were opposed to the Academical School who worked by rule of thumb; and they differed among one another only in differences of physical power and moral aim. Which was all perfectly true, and much truer than the cheap criticism which could not see beyond superficial differences, or the fossil theories of the old school. But Pre-Raphaelitism was an unstable compound, liable to explode upon the experimenter, and its component parts to return to their old ant.i.thesis of crude naturalism on the one hand, and affectation of piety or poetry or antiquarianism, on the other. And _that_ their new champion did not then foresee. All he knew was that, just when he was sadly leaving the scene, Turner gone and night coming on, new lights arose. It was really far more noteworthy that Millais and Rossetti and Hunt were _men of genius_, than that the "principles" they tried to ill.u.s.trate were sound, and that Ruskin divined their power, and generously applauded them.

Immediately after finishing the pamphlet on "Pre-Raphaelitism," he left for the Continent with his wife and friends, the Rev. and Mrs. Daniel Moore; spent a fortnight in his beloved Savoy, with the Pritchards; and then crossed the Alps with Charles Newton. On the 1st of September he was at Venice, for a final spell of labour on the palaces and churches.

After spending a week with Rawdon Brown he settled at Casa Wetzler, Campo Sta. Maria Zobenigo, and during the autumn and winter not only worked extremely hard at his architecture, but went with his wife into Austrian and Italian society and saw many distinguished visitors. One of them, whom he lectured on the shortcomings of the Renaissance, was Dean Milman. "I am amused at your mode of ciceronizing the Dean of St.

Paul's," wrote his father, who kept up the usual close correspondence, and made himself useful in looking up books of reference and consulting authorities like Mr. James Fergusson--for these chapters of easy eloquence were not written without a world of pains. The engravers and the business department of the new publications also required his co-operation, for they were now becoming large ventures. During the three and a half years preceding the summer of 1851 Ruskin seems to have spent 1,680 of profits from his books, making by his writings at this period only about a third of his annual outlay; so that the estimated cost of these great ill.u.s.trated volumes, some 1,200, was a matter of anxiety to his father, who, together with the publisher, deprecated large plates and technical details, and expressed some impatience to see results from this visit to Venice. He looked eagerly for every new chapter or drawing as it was sent home for criticism. Some pa.s.sages, such as the description of the Calle San Moise ("Stones of Venice," II.

iv,) were unfavourably received by him. Another time he says, "You have a very great difficulty now in writing any more, which is to write up to yourself": or again,--"Smith reports slow sale of 'Stones of Venice'

(vol. I.) and 'Pre-Raphaelitism.' The times are sorely against you. The Exhibition has impoverished the country, and literature of a saleable character seems chiefly confined to shilling books in green paper, to be had at railway stations. Smith will have an account against us." He always sent adverse press-notices, on the principle that it was good for John: and every little discouragement or annoyance was discussed in full.

The most serious news, threatening complete interruption of the work rapidly progressing in spite of all, was of Turner's death (December 19, 1851). Old Mr. Ruskin heard of it on the 21st, a "dismal day" to him, spent in sad contemplation of the pictures his son had taught him to love. Soon it came out that John Ruskin was one of the executors named in the will, with a legacy of _20_ for a mourning ring:--"n.o.body can say you were paid to praise," says his father. It was gossipped that he was expected to write Turner's biography--"five years' work for you,"

says the old man, full of plans for gathering material. But when one scandal after another reached his ears, he changed his tone, and suggested dropping personal details, and giving a "Life of his Art," in the intended third and final volume of "Modern Painters." Something of the sort was done in the Edinburgh Lectures and at the close of vol. v.

of "Modern Painters": and the official life was left to Walter Thornbury, with which Mr. Ruskin perhaps did not wish to interfere. But he collected a ma.s.s of then unpublished material about Turner, which goes far to prove that the kindly view he took of the strange man's morbid and unhappy life was not without justification. At the time, so many legal complications developed that Ruskin was advised to resign his executorship; later on he was able to fulfil its duties as he conceived them, in arranging Turner's sketches for the National Gallery.

Others of his old artist-friends were now pa.s.sing away. Early in January Mr. J.J. Ruskin called on William Hunt and found him feeble: "I like the little Elshie," he says, nicknaming him after the Black Dwarf, for Hunt was somewhat deformed:

"He is softened and humanized. There is a gentleness and a greater _bonhomie_--less reserve. I had sent him 'Pre-Raphaelitism.' He had marked it very much with pencil. He greatly likes your notice of people not keeping to their last. So many clever artists, he says, have been ruined by not acting on your principles. I got a piece of advice from Hunt,--never to commission a picture. He could not have done my pigeon so well had he felt he was doing it for anybody."

The pigeon was a drawing he had just bought; in later years at Brantwood.

In February 1852 a dinner-party was given to celebrate in his absence John Ruskin's thirty-third birthday.

"On Monday, 9th, we had Oldfield (Newton was in Wales), Harrison, George Richmond, Tom, Dr. Grant, and Samuel Prout. The latter I never saw in such spirits, and he went away much satisfied.

Yesterday at church we were told that he came home very happy, ascended to his painting-room, and in a quarter of an hour from his leaving our cheerful house was a corpse, from apoplexy. He never spoke after the fit came on. He had always wished for a sudden death."

Next year, in November, 1853, he tells of a visit paid, by John's request, to W.H. Deverell, the young Pre-Raphaelite, whom he found "in squalor and sickness--with his Bible open--and not long to live--while Howard abuses his picture at Liverpool."

Early in 1852 Charles Newton was going to Greece on a voyage of discovery, and wanted John Ruskin to go with him. But the parents would not hear of his adventuring himself at sea "in those engine-vessels." So Newton went alone, and "dug up loads of Phoenician antiquities." One cannot help regretting that Ruskin lost this opportunity of familiarizing himself with the early Greek art which, twenty years later he tried to expound. For the time he was well enough employed on the "Stones of Venice." He tells the story of this ten months' stay in a letter to his venerable friend Rogers the poet, dated June 23 (1852).

"I was out of health and out of heart when I first got here. There came much painful news from home, and then such a determined course of bad weather, and every other kind of annoyance, that I never was in a temper fit to write to anyone: the worst of it was that I lost all _feeling_ of Venice, and this was the reason both of my not writing to you and of my thinking of you so often. For whenever I found myself getting utterly hard and indifferent I used to read over a little bit of the 'Venice' in the 'Italy' and it put me always into the right tone of thought again, and for this I cannot be enough grateful to you. For though I believe that in the summer, when Venice is indeed lovely, when pomegranate blossoms hang over every garden-wall, and green sunlight shoots through every wave, custom will not destroy, or even weaken, the impression conveyed at first; it is far otherwise in the length and bitterness of the Venetian winters. Fighting with frosty winds at every turn of the ca.n.a.ls takes away all the old feelings of peace and stillness; the protracted cold makes the dash of the water on the walls a sound of simple discomfort, and some wild and dark day in February one starts to find oneself actually balancing in one's mind the relative advantages of land and water carriage, comparing the Ca.n.a.l with Piccadilly, and even hesitating whether for the rest of one's life one would rather have a gondola within call or a hansom."

He then goes on to lament the decay of Venice, the idleness and dissipation of the populace, the lottery gambling; and to forebode the "destruction of old buildings and erection of new" changing the place "into a modern town--a bad imitation of Paris." Better than that he thinks would be utter neglect; St. Mark's Place would again be, what it was in the early ages, a green field, and the front of the Ducal Palace and the marble shafts of St. Mark's would be rooted in wild violets and wreathed with vines:

"She will be beautiful again then, and I could almost wish that the time might come quickly, were it not that so many n.o.ble pictures must be destroyed first.... I love Venetian pictures more and more, and wonder at them every day with greater wonder; compared with all other paintings they are so easy, so instinctive, so natural; everything that the men of other schools did by rule and called composition, done here by instinct and only called truth.

"I don't know when I have envied anybody more than I did the other day the directors and clerks of the Zecca. There they sit at inky deal desks, counting out rolls of money, and curiously weighing the irregular and battered coinage of which Venice boasts; and just over their heads, occupying the place which in a London countinghouse would be occupied by a commercial almanack, a glorious Bonifazio--'Solomon and the Queen of Sheba'; and in a less honourable corner three _old_ directors of the Zecca, very mercantile-looking men indeed, counting money also, like the living ones, only a little _more_ living, painted by Tintoret; not to speak of the scattered Palma Vecchios, and a lovely Benedetto Diana which no one ever looks at. I wonder when the European mind will again awake to the great fact that a n.o.ble picture was not painted to be _hung_, but to be _seen_? I only saw these by accident, having been detained in Venice by soma obliging person who abstracted some [of his wife's jewels] and brought me thereby into various relations with the respectable body of people who live at the wrong end of the Bridge of Sighs--the police, whom, in spite of traditions of terror, I would very willingly have changed for some of those their predecessors whom you have honoured by a note in the 'Italy.' The present police appear to act on exactly contrary principles; yours found the purse and banished the loser; these _don't_ find the jewels, and won't let me go away. I am afraid no punishment is appointed in Venetian law for people who steal _time_."

Mr. Ruskin returned to England in July, 1852, and settled next door to his old home on Herne Hill. He said he could not live any more in Park Street, with a dead brick wall opposite his windows. And so, under the roof where he wrote the first volume of "Modern Painters," he finished "Stones of Venice." These latter volumes give an account of St. Mark's and the Ducal Palace and other ancient buildings; a complete catalogue of Tintoret's pictures--the list he had begun in 1845; and a history of the successive styles of architecture, Byzantine, Gothic, and Renaissance, interweaving ill.u.s.trations of the human life and character that made the art what it was.

The kernel of the work was the chapter on the Nature of Gothic; in which he showed, more distinctly than in the "Seven Lamps," and connected with a wider range of thought, suggested by Pre-Raphaelitism, the doctrine that art cannot be produced except by artists; that architecture, in so far as it is an art, does not mean mechanical execution, by unintelligent workmen, from the vapid working-drawings of an architect's office; and, just as Socrates postponed the day of justice until philosophers should be kings and kings philosophers, so Ruskin postponed the reign of art until workmen should be artists, and artists workmen.

CHAPTER VI

THE EDINBURGH LECTURES (1853-1854)

By the end of June, 1853, "Stones of Venice" was finished, as well as a description of Giotto's works at Padua, written for the Arundel Society.

The social duties of the season were over; Ruskin and his wife went north to spend a well-earned holiday. At Wallington in Northumberland, staying with Sir Walter and Lady Trevelyan, he met Dr. John Brown at Edinburgh, author of "Pet Marjorie" and other well-known works, who became his lifelong friend. Ruskin invited Millais, by this time an intimate and heartily-admired friend,[4] to join them at Glenfinlas.

Ruskin devoted himself first to foreground studies, and made careful drawings of rock-detail; and then, being asked to give a course of lectures before the Philosophical Society of Edinburgh, he was soon busy writing once more, and preparing the cartoon-sketches, "diagrams" as he called them, to ill.u.s.trate his subjects. Dr. Acland had joined the party; and he asked Millais to sketch their host as he stood contemplatively on the rocks with the torrent thundering beside him. The picture with additional work in the following winter, became the well-known portrait in the possession of Sir Henry Acland, much the best likeness of this early period.

[Footnote 4: "What a beauty of a man he is!" wrote old Mr. Ruskin, "and high in intellect.... Millais' sketches are 'prodigious'! Millais is the painter of the age." "Capable, it seems to me, of almost everything, if his life and strength be spared," said the younger Ruskin to Miss Mitford.]

Another portrait was painted--in words--by one of his audience at Edinburgh on November 1, when he gave the opening lecture of his course, his first appearance on the platform. The account is extracted from the _Edinburgh Guardian_ of November 19, 1853:

"Before you can see the lecturer, however, you must get into the hall, and that is not an easy matter, for, long before the doors are opened, the fortunate holders of season tickets begin to a.s.semble, so that the crowd not only fills the pa.s.sage, but occupies the pavement in front of the entrance and overflows into the road. At length the doors open, and you are carried through the pa.s.sage into the hall, where you take up, of course, the best available position for seeing and hearing.... After waiting a weary time ... the door by the side of the platform opens, and a thin gentleman with light hair, a stiff white cravat, dark overcoat with velvet collar, walking, too with a slight stoop, goes up to the desk, and looking round with a self-possessed and somewhat formal air, proceeds to take off his great-coat, revealing thereby, in addition to the orthodox white cravat, the most orthodox of white waistcoats.... 'Dark hair, pale face, and ma.s.sive marble brow--that is my ideal of Mr. Ruskin,' said a young lady near us. This proved to be quite a fancy portrait, as unlike the reality as could well be imagined, Mr. Ruskin has light sand-coloured hair; his face is more red than pale; the mouth well-cut, with a good deal of decision in its curve, though somewhat wanting in sustained dignity and strength; an aquiline nose; his forehead by no means broad or ma.s.sive, but the brows full and well bound together; the eye we could not see, in consequence of the shadows that fell upon his countenance from the lights overhead, but we are sure it must be soft and luminous, and that the poetry and pa.s.sion we looked for almost in vain in other features must be concentrated there.[5]

After sitting for a moment or two, and glancing round at the sheets on the wall as he takes off his gloves, he rises, and leaning slightly over the desk, with his hands folded across, begins at once,--'You are proud of your good city of Edinburgh,' etc.

[Footnote 5: "Mary Russell Mitford found him as a young man 'very eloquent and distinguished-looking, tall, fair, and slender, with a gentle playfulness, and a sort of pretty waywardness that was quite charming.' Sydney Dobell, again, in 1852, discovered an earnestness pervading every feature, giving power to a face that otherwise would be merely lovable for its gentleness. And, finally, one who visited him at Denmark Hill characterized him as emotional and nervous, with a soft, genial eye, a mouth 'thin and severe,' and a voice that, though rich and sweet, yet had a tendency to sink into a plaintive and hopeless tone,"--_Literary World_, May 19, 1893.]

"And now for the style of the lecture.... Properly speaking, there were two styles essentially distinct, and not well blended,--a speaking and a writing style; the former colloquial and spoken off-hand; the latter rhetorical and carefully read in quite a different voice,--we had almost said intoned.... He has a difficulty in sounding the letter 'r'; [and there is a] peculiar tone in the rising and falling of his voice at measured intervals, in a way scarcely ever heard except in the public lection of the service appointed to be read in churches. These are the two things with which, perhaps you are most surprised,--his dress and manner of speaking--both of which (the white waistcoat notwithstanding) are eminently clerical. You naturally expect, in one so independent, a manner free from conventional restraint, and an utterance, whatever may be the power of voice, at least expressive of a strong individuality; and you find instead a Christ Church man of ten years' standing, who has not yet taken orders; his dress and manner derived from his college tutor, and his elocution from the chapel-reader."

The lectures were a summing up, in popular form, of the chief topics of Ruskin's thought during the last two years. The first (November 1) stated, with more decision and warmth than part of his audience approved, his plea for the Gothic Revival, for the use of Gothic as a domestic style. The next lecture, given three days later, went on to contrast the wealth of ornament in mediaeval buildings with the poor survivals of conventionalized patterns which did duty for decoration in nineteenth-century "Greek" architecture; and he raised a laugh by comparing a typical stonemason's lion with a real tiger's head, drawn in the Edinburgh zoological gardens by Mr. Millais.

The last two lectures, on November 15 and 18, were on Painting; briefly reviewing the history of landscape and the life and aims of Turner; and finally, Christian art and Sincerity in imagination, which was now put forth as the guiding principle of Pre-Raphaelitism.

Public opinion was violently divided over these lectures; and they were the cause of much trouble at home. The fact of his lecturing at all aroused strong opposition from his friends and remonstrances from his parents. Before the event his mother wrote: "I cannot reconcile myself to the thought of your bringing yourself personally before the world till you are somewhat older and stronger." Afterwards, his father, while apologizing for the word "degrading," is disgusted at his exposing himself to such an interruption as occurred, and to newspaper comments and personal references. The notion of an "itinerant lecturer"

scandalizes him. He hears from Harrison and Holding that John is to lecture even at their very doors--in Camberwell. "I see small bills up,"

he writes, "with the lecturers' names; among them Mr. ---- who gets your old clothes!" And he bids him write to the committee that his parents object to his fulfilling the engagement. He postponed his lecture--for ten years; but accepted the Presidency of the Camberwell Inst.i.tute, which enabled him to appear at their meetings without offence to any.

While staying at Edinburgh, Mr. Ruskin met the various celebrities of modern Athens, some of them at the table of his former fellow-traveller in Venice, Mrs. Jameson. He then returned home to prepare the lectures for printing.

These lectures as published in April, 1854 were fiercely a.s.sailed by the old school; but a more serious blow fell on him before that month was out. His wife returned to her parents and inst.i.tuted a suit against him, to which he made no answer. The marriage was annulled in July. A year later she married Millais.

In May (1854) the Pre-Raphaelites again needed his defence. Mr. Holman Hunt exhibited the "Light of the World" and the "Awakening Conscience."

Ruskin made them the theme of two more letters to _The Times_; mentioning, by the way, the "spurious imitations of Pre-Raphaelite work"

which were already becoming common. Starting for his summer tour on the Continent, in the Simmenthal he wrote a pamphlet on the opening of the Crystal Palace. There had been much rejoicing over the "new style of architecture" in gla.s.s and iron, and its purpose as a palace of art.

Ruskin who had declined, in the last chapter of the "Seven Lamps," to join in the cry for a new style, was not at all ready to accept this as any real artistic advance; and took the opportunity to plead again for the great buildings of the past, which were being destroyed or neglected, while the British public was glorifying its gigantic greenhouse. The pamphlet practically suggested the establishment of the Society for the preservation of ancient buildings, which has since come into operation.

This summer of 1854 he projected a study of Swiss history: to tell the tale of six chief towns--Geneva, Fribourg, Basle, Thun, Baden and Schaffhausen, to which in 1858 he added Rheinfelden and Bellinzona. He intended to ill.u.s.trate the work with pictures of the places described.

He began with his drawing of Thun, a large bird's-eye view of the town with its river and bridges, roofs and towers, all exquisitely defined with the pen, and broadly coloured in fluctuating tints that seem to melt always into the same aerial blue; the blue, high up the picture, beyond the plain, deepening into distant mountains.

But his father wanted to see "Modern Painters" completed, and so he began his third volume at Vevey, with the discussion of the grand style, in which he at last broke loose from Reynolds, as was inevitable, after his study of Pre-Raphaelitism, and all the varied experiences of the last ten years. The lesson of the Tulse Hill ivy had been brought home to him in many ways: he had found it to be more and more true that Nature is, after all, the criterion of art, and that the greatest painters were always those whose aim, so far as they were conscious of an aim, was to take fact for their starting-point. Idealism, beauty, imagination, and the rest, though necessary to art, could not, he felt, be made the object of study; they were the gift of heredity, of circ.u.mstances, of national aspirations and virtues; not to be produced by the best of rules, or achieved by the best of intentions.

What his own view of his own work was can be gathered from a letter to an Edinburgh student, written on August 6, 1854:

"I am sure I never said anything to dissuade you from trying to excel or to do great things. I only wanted you to be sure that your efforts were made with a substantial basis, so that just in the moment of push your footing might not give way beneath you; and also I wanted you to feel that long and steady effort made in a contented way does more than violent effort made from some strong motive and under some enthusiastic impulse. And I repeat--for of this I am perfectly sure--that the best things are only to be done in this way. It is very difficult thoroughly to understand the difference between indolence and reserve of strength, between apathy and severity, between palsy and patience; but there is all the difference in the world; and nearly as many men are ruined by inconsiderate exertions as by idleness itself. To do as much as you can heartily and happily do each day in a well-determined direction, with a view to far-off results, with present enjoyment of one's work, is the only proper, the only essentially profitable way."