,a ,,joy ,,for ,,ever2           7,,and 
,,its ,,price ,,in ,,the ,,market73     
,,being           ,,the ,,substance     
7,,with ,,additions7                    
,,of     ,,two ,,lectures ,,on ,,the    
,,political ,,economy ,,of ,,art1       
,delivered at ,manchester1 ,july #ajth  
and #acth1 #aheg4                       
,,by                 ,,john ,,ruskin1   
,,ll4,d41   ,,honorary ,,student ,,of   
,,christ ,,church1 ,,and ,,honorary     
,,fellow         ,,of ,,corpus ,,christi
 ,,college1 ,,oxford4       ,a thing of 
beauty is a joy for ever4--,,keats4     
,,sixteenth ,,thousand4                 
,,london3      ,,george ,,allen1 #aef1  
,,charing ,,cross ,,road4               
#aijd4              ,all rights reserved
        ,printed by ,,ballantyne1       
,,hanson  ,,co4             ,at the     
,ballantyne ,press     ,,preface  ,,to  
,,the ,,re-,,issue ,,of #ahhj4   ,the   
title of this book1--or1 more           
accurately1 of its subject2--for no     
author was ever less likely than ,i have

 lately become1 to hope for perennial   
pleasure to his readers from what has   
cost himself the most pains1--will be1  
perhaps1 recognised by some as the last 
clause of the line chosen from ,keats by
 the good folks of ,manchester1 to be   
written in letters of gold on the       
cornice1 or ,holy rood1 of the great    
,exhibition which inaugurated the career
 of so many1--since organized1 by both  
foreign governments and our own1 to     
encourage the production of works of    
art1 which the producing nations1 so far
 from intending to be their joy for     
ever1 only hope to sell as soon as      
possible4 ,yet the motto was chosen with
 uncomprehended felicity3 for there     
never was1 nor can be1 any essential    
beauty possessed by a work of art1 which
 is not based on the conception of its  
honoured permanence1 and local          
influence1 as a part of appointed and   
precious furniture1 either in the       
cathedral1 the house1 or the joyful     
thoroughfare1 of nations which enter    

their gates with thanksgiving1 and their
 courts with praise4  ,their courts--or 
,his courts2--in the mind of such races1
 the expressions are synonymous3 and the
 habits of life which recognise the     
delightfulness1 confess also the        
sacredness1 of homes nested round the   
seat of a worship unshaken by insolent  
theory3 themselves founded on an abiding
 affection for the past1 and care for   
the future2 and approached by paths open
 only to the activities of honesty1 and 
traversed only by the footsteps of      
peace4  ,the exposition of these truths1
 to which ,i have given the chief energy
 of my life1 will be found in the       
following pages first undertaken        
systematically and in logical sequence2 
and what ,i have since written on the   
political influence of the ,arts has    
been little more than the expansion of  
these first lectures1 in the reprint of 
which not a sentence is omitted or      
changed4  ,the supplementary papers     
added contain1 in briefest form1 the    

aphorisms respecting principles of      
art-teaching of which the attention ,i  
gave to this subject during the         
continuance of my ,professorship at     
,oxford confirms me in the earnest and  
contented re-assertion4  ,,john         
,,ruskin1  ,,brantwood1  ,april #bith1  
#ahhj4     ,,preface  ,,to ,,the #aheg  
,,edition4   ,the greater part of the   
following treatise remains in the exact 
form in which it was read at            
,manchester2 but the more familiar      
passages of it1 which were trusted to   
extempore delivery1 have been written   
with greater explicitness and fulness   
than ,i could give them in speaking2 and
 a considerable number of notes are     
added1 to explain the points which could
 not be sufficiently considered in the  
time ,i had at my disposal in the       
lecture room4  ,some apology may be     
thought due to the reader1 for an       
endeavour to engage his attention on a  
subject of which no profound study seems
 compatible with the work in which ,i am

 usually employed4 ,but profound study  
is not1 in this case1 necessary either  
to writer or readers1 while accurate    
study1 up to a certain point1 is        
necessary for us all4 ,political economy
 means1 in plain ,english1 nothing more 
than citizen's economy2 and its first   
principles ought1 therefore1 to be      
understood by all who mean to take the  
responsibility of citizens1 as those of 
household economy by all who take the   
responsibility of householders4 ,nor are
 its first principles in the least      
obscure3 they are1 many of them1        
disagreeable in their practical         
requirements1 and people in general     
pretend that they cannot understand1    
because they are unwilling to obey them3
 or rather1 by habitual disobedience1   
destroy their capacity of understanding 
them4 ,but there is not one of the      
really great principles of the science  
which is either obscure or              
disputable1--which might not be taught  
to a youth as soon as he can be trusted 

with an annual allowance1 or to a young 
lady as soon as she is of age to be     
taken into counsel by the housekeeper4  
,i might1 with more appearance of       
justice1 be blamed for thinking it      
necessary to enforce what everybody is  
supposed to know4 ,but this fault will  
hardly be found with me1 while the      
commercial events recorded daily in our 
journals1 and still more the            
explanations attempted to be given of   
them1 show that a large number of our   
so-called merchants are as ignorant of  
the nature of money as they are         
reckless1 unjust1 and unfortunate in its
 employment4  ,the statements of        
economical principles given in the text1
 though ,i know that most1 if not all1  
of them are accepted by existing        
authorities on the science1 are not     
supported by references1 because ,i have
 never read any author on political     
economy1 except ,adam ,smith1 twenty    
years ago4 ,whenever ,i have taken up   
any modern book upon this subject1 ,i   

have usually found it encumbered with   
inquiries into accidental or minor      
commercial results1 for the pursuit of  
which an ordinary reader could have no  
leisure1 and by the complication of     
which1 it seemed to me1 the authors     
themselves had been not unfrequently    
prevented from seeing to the root of the
 business4  ,finally1 if the reader     
should feel induced to blame me for too 
sanguine a statement of future          
possibilities in political practice1 let
 him consider how absurd it would have  
appeared in the days of ,edward ,i4 if  
the present state of social economy had 
been then predicted as necessary1 or    
even described as possible4 ,and ,i     
believe the advance from the days of    
,edward ,i4 to our own1 great as it is  
confessedly1 consists1 not so much in   
what we have actually accomplished1 as  
in what we are now enabled to conceive4 
,,contents4   ,,lecture ,i4             
,,page ,,the ,,discovery ,,and          
,,application ,,of ,,art                

#a  ,a ,lecture delivered at            
,manchester1 ,july #ajth1 #aheg4        
,,lecture ,,ii4  ,,the ,,accumulation   
,,and ,,distribution ,,of ,,art         
#gj  ,continuation of the previous      
,lecture2 delivered ,july #acth1 #aheg4 
,,addenda4  ,,note #a4--;,,fatherly     
,,authority                      #aea   
#b4--,,right ,,to ,,public ,,support    
#aei              #c4--,,trial ,,schools
                           #afi         
#d4--,,public ,,favour                  
#ahj              #e4--;,,invention ,,of
 ,,new ,,wants                  #ahc    
#f4--;,,economy ,,of ,,literature       
#ahg              #g4--,,pilots ,,of    
,,the ,,state                     #ahi  
#h4--,,silk ,,and ,,purple              
#aic   ,,supplementary ,,additional     
,,papers4  ,,education ,,in ,,art       
#bac  ,,art ,,school ,,notes            
#bbi  ,,social ,,policy                 
#bdj     ,a ,,joy ,,for ,,ever4         
,,lecture ,i4  ,,the ,,discovery ,,and  
,,application ,,of ,,art4  ,a ,lecture  

delivered at ,manchester1 ,july #aj1    
#aheg4   #a4 ,among the various         
characteristics of the age in which we  
live1 as compared with other ages of    
this not yet very experienced world1 one
 of the most notable appears to me to be
 the just and wholesome contempt in     
which we hold poverty4 ,i repeat1 the   
just and wholesome contempt2 though ,i  
see that some of my hearers look        
surprised at the expression4 ,i assure  
them1 ,i use it in sincerity2 and ,i    
should not have ventured to ask you to  
listen to me this evening1 unless ,i had
 entertained a profound respect for     
wealth--true wealth1 that is to say2    
for1 of course1 we ought to respect     
neither wealth nor anything else that is
 false of its kind3 and the distinction 
between real and false wealth is one of 
the points on which ,i shall have a few 
words presently to say to you4 ,but true
 wealth ,i hold1 as ,i said1 in great   
honour2 and sympathize1 for the most    
part1 with that extraordinary feeling of

 the present age which publicly pays    
this honour to riches4   #b4 ,i cannot1 
however1 help noticing how extraordinary
 it is1 and how this epoch of ours      
differs from all bygone epochs in having
 no philosophical nor religious         
worshippers of the ragged godship of    
poverty4 ,in the classical ages1 not    
only were there people who voluntarily  
lived in tubs1 and who used gravely to  
maintain the superiority of tub-life to 
town-life1 but the ,greeks and ,latins  
seem to have looked on these eccentric1 
and ,i do not scruple to say1 absurd    
people1 with as much respect as we do   
upon large capitalists and landed       
proprietors2 so that really1 in those   
days1 no one could be described as purse
 proud1 but only as empty-purse proud4  
,and no less distinct than the honour   
which those curious ,greek people pay to
 their conceited poor1 is the           
disrespectful manner in which they speak
 of the rich2 so that one cannot listen 
long either to them1 or to the ,roman   

writers who imitated them1 without      
finding oneself entangled in all sorts  
of plausible absurdities2 hard upon     
being convinced of the uselessness of   
collecting that heavy yellow substance  
which we call gold1 and led generally to
 doubt all the most established maxims  
of political economy4   #c4 ,nor are    
matters much better in the ,middle      
,ages4 ,for the ,greeks and ,romans     
contented themselves with mocking at    
rich people1 and constructing merry     
dialogues between ,charon and ,diogenes 
or ,menippus1 in which the ferryman and 
the cynic rejoiced together as they saw 
kings and rich men coming down to the   
shore of ,acheron1 in lamenting and     
lamentable crowds1 casting their crowns 
into the dark waters1 and searching1    
sometimes in vain1 for the last coin out
 of all their treasures that could ever 
be of use to them4   #d4 ,but these     
,pagan views of the matter were         
indulgent1 compared with those which    
were held in the ,middle ,ages1 when    

wealth seems to have been looked upon by
 the best men not only as contemptible1 
but as criminal4 ,the purse round the   
neck is1 then1 one of the principal     
signs of condemnation in the pictured   
,inferno2 and the ,spirit of ,poverty is
 reverenced with subjection of heart1   
and faithfulness of affection1 like that
 of a loyal knight for his lady1 or a   
loyal subject for his queen4 ,and truly1
 it requires some boldness to quit      
ourselves of these feelings1 and to     
confess their partiality or their error1
 which1 nevertheless1 we are certainly  
bound to do4 ,for wealth is simply one  
of the greatest powers which can be     
entrusted to human hands3 a power1 not  
indeed to be envied1 because it seldom  
makes us happy2 but still less to be    
abdicated or despised2 while1 in these  
days1 and in this country1 it has become
 a power all the more notable1 in that  
the possessions of a rich man are not   
represented1 as they used to be1 by     
wedges of gold or coffers of jewels1 but

 by masses of men variously employed1   
over whose bodies and minds the wealth1 
according to its direction1 exercises   
harmful or helpful influence1 and       
becomes1 in that alternative1 ,mammon   
either of ,unrighteousness or of        
,righteousness4   #e4 ,now1 it seemed to
 me that since1 in the name you have    
given to this great gathering of        
,british pictures1 you recognize them as
 ,treasures--that is1 ,i suppose1 as    
part and parcel of the real wealth of   
the country--you might not be           
uninterested in tracing certain         
commercial questions connected with this
 particular form of wealth4 ,most       
persons express themselves as surprised 
at its quantity2 not having known before
 to what an extent good art had been    
accumulated in ,england3 and it will1   
therefore1 ,i should think1 be held a   
worthy subject of consideration1 what   
are the political interests involved in 
such accumulations1 what kind of labour 
they represent1 and how this labour may 

in general be applied and economized1 so
 as to produce the richest results4     
#f4 ,now1 you must have patience with   
me1 if in approaching the specialty of  
this subject1 ,i dwell a little on      
certain points of general political     
science already known or established3   
for though thus1 as ,i believe1         
established1 some which ,i shall have   
occasion to rest arguments on are not   
yet by any means universally accepted2  
and therefore1 though ,i will not lose  
time in any detailed defence of them1 it
 is necessary that ,i should distinctly 
tell you in what form ,i receive1 and   
wish to argue from them2 and this the   
more1 because there may perhaps be a    
part of my audience who have not        
interested themselves in political      
economy1 as it bears on ordinary fields 
of labour1 but may yet wish to hear in  
what way its principles can be applied  
to ,art4 ,i shall1 therefore1 take leave
 to trespass on your patience with a few
 elementary statements in the outset1   

and with the expression of some general 
principles1 here and there1 in the      
course of our particular inquiry4   #g4 
,to begin1 then1 with one of these      
necessary truisms3 all economy1 whether 
of states1 households1 or individuals1  
may be defined to be the art of managing
 labour4 ,the world is so regulated by  
the laws of ,providence1 that a man's   
labour1 well applied1 is always amply   
sufficient to provide him during his    
life with all things needful to him1 and
 not only with those1 but with many     
pleasant objects of luxury2 and yet     
farther1 to procure him large intervals 
of healthful rest and serviceable       
leisure4 ,and a nation's labour1 well   
applied1 is1 in like manner1 amply      
sufficient to provide its whole         
population with good food and           
comfortable habitation2 and not with    
those only1 but with good education     
besides1 and objects of luxury1 art     
treasures1 such as these you have around
 you now4 ,but by those same laws of    

,nature and ,providence1 if the labour  
of the nation or of the individual be   
misapplied1 and much more if it be      
insufficient1--if the nation or man be  
indolent and unwise1--suffering and want
 result1 exactly in proportion to the   
indolence and improvidence--to the      
refusal of labour1 or to the            
misapplication of it4 ,wherever you see 
want1 or misery1 or degradation1 in this
 world about you1 there1 be sure1 either
 industry has been wanting1 or industry 
has been in error4 ,it is not accident1 
it is not ,heaven-commanded calamity1 it
 is not the original and inevitable evil
 of man's nature1 which fill your       
streets with lamentation1 and your      
graves with prey4 ,it is only that1 when
 there should have been providence1     
there has been waste2 when there should 
have been labour1 there has been        
lasciviousness2 and wilfulness1 when    
there should have been subordination4#a 
,note #a3 ,proverbs xiii4 #bc3 ,much    
food is in the tillage of the poor1 but 

there is that is destroyed for want of  
judgment4  #h4 ,now1 we have warped the 
word economy in our ,english language   
into a meaning which it has no business 
whatever to bear4 ,in our use of it1 it 
constantly signifies merely sparing or  
saving2 economy of money means saving   
money--economy of time1 sparing time1   
and so on4 ,but that is a wholly        
barbarous use of the word--barbarous in 
a double sense1 for it is not ,english1 
and it is bad ,greek2 barbarous in a    
treble sense1 for it is not ,english1 it
 is bad ,greek1 and it is worse sense4  
,economy no more means saving money than
 it means spending money4 ,it means1 the
 administration of a house2 its         
stewardship2 spending or saving1 that   
is1 whether money or time1 or anything  
else1 to the best possible advantage4   
,in the simplest and clearest definition
 of it1 economy1 whether public or      
private1 means the wise management of   
labour2 and it means this mainly in     
three senses3 namely1 first1 applying   

your labour rationally2 secondly1       
preserving its produce carefully2       
lastly1 distributing its produce        
seasonably4   #i4 ,i say first1 applying
 your labour rationally2 that is1 so as 
to obtain the most precious things you  
can1 and the most lasting things1 by it3
 not growing oats in land where you can 
grow wheat1 nor putting fine embroidery 
on a stuff that will not wear4          
,secondly1 preserving its produce       
carefully2 that is to say1 laying up    
your wheat wisely in storehouses for the
 time of famine1 and keeping your       
embroidery watchfully from the moth3 and
 lastly1 distributing its produce       
seasonably2 that is to say1 being able  
to carry your corn at once to the place 
where the people are hungry1 and your   
embroideries to the places where they   
are gay2 so fulfilling in all ways the  
,wise ,man's description1 whether of the
 queenly housewife or queenly nation3   
,she riseth while it is yet night1 and  
giveth meat to her household1 and a     

portion to her maidens4 ,she maketh     
herself coverings of tapestry1 her      
clothing is silk and purple4 ,strength  
and honour are in her clothing1 and she 
shall rejoice in time to come4   #aj4   
,now1 you will observe that in this     
description of the perfect economist1 or
 mistress of a household1 there is a    
studied expression of the balanced      
division of her care between the two    
great objects of utility and splendour3 
in her right hand1 food and flax1 for   
life and clothing2 in her left hand1 the
 purple and the needlework1 for honour  
and for beauty4 ,all perfect housewifery
 or national economy is known by these  
two divisions2 wherever either is       
wanting1 the economy is imperfect4 ,if  
the motive of pomp prevails1 and the    
care of the national economist is       
directed only to the accumulation of    
gold1 and of pictures1 and of silk and  
marble1 you know at once that the time  
must soon come when all these treasures 
shall be scattered and blasted in       

national ruin4 ,if1 on the contrary1 the
 element of utility prevails1 and the   
nation disdains to occupy itself in any 
wise with the arts of beauty or delight1
 not only a certain quantity of its     
energy calculated for exercise in those 
arts alone must be entirely wasted1     
which is bad economy1 but also the      
passions connected with the utilities of
 property become morbidly strong1 and a 
mean lust of accumulation merely for the
 sake of accumulation1 or even of labour
 merely for the sake of labour1 will    
banish at last the serenity and the     
morality of life1 as completely1 and    
perhaps more ignobly1 than even the     
lavishness of pride1 and the likeness of
 pleasure4 ,and similarly1 and much more
 visibly1 in private and household      
economy1 you may judge always of its    
perfectness by its fair balance between 
the use and the pleasure of its         
possessions4 ,you will see the wise     
cottager's garden trimly divided between
 its well-set vegetables1 and its       

fragrant flowers2 you will see the good 
housewife taking pride in her pretty    
table-cloth1 and her glittering shelves1
 no less than in her well-dressed dish1 
and her full storeroom2 the care in her 
countenance will alternate with gaiety1 
and though you will reverence her in her
 seriousness1 you will know her best by 
her smile4   #aa4 ,now1 as you will have
 anticipated1 ,i am going to address    
you1 on this and our succeeding evening1
 chiefly on the subject of that economy 
which relates rather to the garden than 
the farm-yard4 ,i shall ask you to      
consider with me the kind of laws by    
which we shall best distribute the beds 
of our national garden1 and raise in it 
the sweetest succession of trees        
pleasant to the sight1 and 7in no       
forbidden sense7 to be desired to make  
us wise4 ,but1 before proceeding to open
 this specialty of our subject1 let me  
pause for a few moments to plead with   
you for the acceptance of that principle
 of government or authority which must  

be at the root of all economy1 whether  
for use or for pleasure4 ,i said1 a few 
minutes ago1 that a nation's labour1    
well applied1 was amply sufficient to   
provide its whole population with good  
food1 comfortable clothing1 and pleasant
 luxury4 ,but the good1 instant1 and    
constant application is everything4 ,we 
must not1 when our strong hands are     
thrown out of work1 look wildly about   
for want of something to do with them4  
,if ever we feel that want1 it is a sign
 that all our household is out of order4
 ,fancy a farmer's wife1 to whom one or 
two of her servants should come at      
twelve o'clock at noon1 crying that they
 had got nothing to do2 that they did   
not know what to do next3 and fancy     
still farther1 the said farmer's wife   
looking hopelessly about her rooms and  
yard1 they being all the while          
considerably in disorder1 not knowing   
where to set the spare handmaidens to   
work1 and at last complaining bitterly  
that she had been obliged to give them  

their dinner for nothing4 ,that's the   
type of the kind of political economy we
 practise too often in ,england4 ,would 
you not at once assert of such a        
mistress that she knew nothing of her   
duties8 and would you not be certain1 if
 the household were rightly managed1 the
 mistress would be only too glad at any 
moment to have the help of any number of
 spare hands2 that she would know in an 
instant what to set them to2--in an     
instant what part of to-morrow's work   
might be most serviceably forwarded1    
what part of next month's work most     
wisely provided for1 or what new task of
 some profitable kind undertaken2 and   
when the evening came1 and she dismissed
 her servants to their recreation or    
their rest1 or gathered them to the     
reading round the work-table1 under the 
eaves in the sunset1 would you not be   
sure to find that none of them had been 
overtasked by her1 just because none had
 been left idle2 that everything had    
been accomplished because all had been  

employed2 that the kindness of the      
mistress had aided her presence of mind1
 and the slight labour had been         
entrusted to the weak1 and the          
formidable to the strong2 and that as   
none had been dishonoured by inactivity1
 so none had been broken by toil8   #ab4
 ,now1 the precise counterpart of such a
 household would be seen in a nation in 
which political economy was rightly     
understood4 ,you complain of the        
difficulty of finding work for your men4
 ,depend upon it1 the real difficulty   
rather is to find men for your work4    
,the serious question for you is not how
 many you have to feed1 but how much you
 have to do2 it is our inactivity1 not  
our hunger1 that ruins us3 let us never 
fear that our servants should have a    
good appetite--our wealth is in their   
strength1 not in their starvation4 ,look
 around this island of yours1 and see   
what you have to do in it4 ,the sea     
roars against your harbourless          
cliffs--you have to build the           

breakwater1 and dig the port of refuge2 
the unclean pestilence ravins in your   
streets--you have to bring the full     
stream from the hills1 and to send the  
free winds through the thoroughfare2 the
 famine blanches your lips and eats away
 your flesh--you have to dig the moor   
and dry the marsh1 to bid the morass    
give forth instead of engulfing1 and to 
wring the honey and oil out of the rock4
 ,these things1 and thousands such1 we  
have to do1 and shall have to do        
constantly1 on this great farm of ours2 
for do not suppose that it is anything  
else than that4 ,precisely the same laws
 of economy which apply to the          
cultivation of a farm or an estate1     
apply to the cultivation of a province  
or of an island4 ,whatever rebuke you   
would address to the improvident master 
of an ill-managed patrimony1 precisely  
that rebuke we should address to        
ourselves1 so far as we leave our       
population in idleness and our country  
in disorder4 ,what would you say to the 

lord of an estate who complained to you 
of his poverty and disabilities1 and    
when you pointed out to him that his    
land was half of it overrun with weeds1 
and that his fences were all in ruin1   
and that his cattle-sheds were roofless1
 and his labourers lying under the      
hedges faint for want of food1 he       
answered to you that it would ruin him  
to weed his land or to roof his         
sheds--that those were too costly       
operations for him to undertake1 and    
that he knew not how to feed his        
labourers nor pay them8 ,would you not  
instantly answer1 that instead of       
ruining him to weed his fields1 it would
 save him2 that his inactivity was his  
destruction1 and that to set his        
labourers to work was to feed them8     
,now1 you may add acre to acre1 and     
estate to estate1 as far as you like1   
but you will never reach a compass of   
ground which shall escape from the      
authority of these simple laws4 ,the    
principles which are right in the       

administration of a few fields1 are     
right also in the administration of a   
great country from horizon to horizon3  
idleness does not cease to be ruinous   
because it is extensive1 nor labour to  
be productive because it is universal4  
#ac4 ,nay1 but you reply1 there is one  
vast difference between the nation's    
economy and the private man's3 the      
farmer has full authority over his      
labourers2 he can direct them to do what
 is needed to be done1 whether they like
 it or not2 and he can turn them away if
 they refuse to work1 or impede others  
in their working1 or are disobedient1 or
 quarrelsome4 ,there is this great      
difference2 it is precisely this        
difference on which ,i wish to fix your 
attention1 for it is precisely this     
difference which you have to do away    
with4 ,we know the necessity of         
authority in farm1 or in fleet1 or in   
army2 but we commonly refuse to admit it
 in the body of the nation4 ,let us     
consider this point a little4   #ad4 ,in

 the various awkward and unfortunate    
efforts which the ,french have made at  
the development of a social system1 they
 have at least stated one true          
principle1 that of fraternity or        
brotherhood4 ,do not be alarmed2 they   
got all wrong in their experiments1     
because they quite forgot that this fact
 of fraternity implied another fact     
quite as important--that of paternity1  
or fatherhood4 ,that is to say1 if they 
were to regard the nation as one family1
 the condition of unity in that family  
consisted no less in their having a     
head1 or a father1 than in their being  
faithful and affectionate members1 or   
brothers4 ,but we must not forget this1 
for we have long confessed it with our  
lips1 though we refuse to confess it in 
our lives4 ,for half an hour every      
,sunday we expect a man in a black gown1
 supposed to be telling us truth1 to    
address us as brethren1 though we should
 be shocked at the notion of any        
brotherhood existing among us out of    

church4 ,and we can hardly read a few   
sentences on any political subject      
without running a chance of crossing the
 phrase paternal government1 though we  
should be utterly horror-struck at the  
idea of governments claiming anything   
like a father's authority over us4 ,now1
 ,i believe those two formal phrases are
 in both instances perfectly binding and
 accurate1 and that the image of the    
farm and its servants which ,i have     
hitherto used1 as expressing a wholesome
 national organization1 fails only of   
doing so1 not because it is too         
domestic1 but because it is not domestic
 enough2 because the real type of a     
well-organized nation must be presented1
 not by a farm cultivated by servants   
who wrought for hire1 and might be      
turned away if they refused to labour1  
but by a farm in which the master was a 
father1 and in which all the servants   
were sons2 which implied1 therefore1 in 
all its regulations1 not merely the     
order of expediency1 but the bonds of   

affection and responsibilities of       
relationship2 and in which all acts and 
services were not only to be sweetened  
by brotherly concord1 but to be enforced
 by fatherly authority4#b  ,note #b3    
,see note #ast1 in ,addenda4  #ae4      
,observe1 ,i do not mean in the least   
that we ought to place such an authority
 in the hands of any one person1 or of  
any class or body of persons4 ,but ,i do
 mean to say that as an individual who  
conducts himself wisely must make laws  
for himself which at some time or other 
may appear irksome or injurious1 but    
which1 precisely at the time they appear
 most irksome1 it is most necessary he  
should obey1 so a nation which means to 
conduct itself wisely1 must establish   
authority over itself1 vested either in 
kings1 councils1 or laws1 which it must 
resolve to obey1 even at times when the 
law or authority appears irksome to the 
body of the people1 or injurious to     
certain masses of it4 ,and this kind of 
national law has hitherto been only     

judicial2 contented1 that is1 with an   
endeavour to prevent and punish violence
 and crime3 but1 as we advance in our   
social knowledge1 we shall endeavour to 
make our government paternal as well as 
judicial2 that is1 to establish such    
laws and authorities as may at once     
direct us in our occupations1 protect us
 against our follies1 and visit us in   
our distresses3 a government which shall
 repress dishonesty1 as now it punishes 
theft2 which shall show how the         
discipline of the masses may be brought 
to aid the toils of peace1 as discipline
 of the masses has hitherto knit the    
sinews of battle2 a government which    
shall have its soldiers of the          
ploughshare as well as its soldiers of  
the sword1 and which shall distribute   
more proudly its golden crosses of      
industry--golden as the glow of the     
harvest1 than now it grants its bronze  
crosses of honour--bronzed with the     
crimson of blood4   #af4 ,i have not1 of
 course1 time to insist on the nature or

 details of government of this kind2    
only ,i wish to plead for your several  
and future consideration of this one    
truth1 that the notion of ,discipline   
and ,interference lies at the very root 
of all human progress or power2 that the
 ,let-alone principle is1 in all things 
which man has to do with1 the principle 
of death2 that it is ruin to him1       
certain and total1 if he lets his land  
alone--if he lets his fellow-men        
alone--if he lets his own soul alone4   
,that his whole life1 on the contrary1  
must1 if it is healthy life1 be         
continually one of ploughing and        
pruning1 rebuking and helping1 governing
 and punishing2 and that therefore it is
 only in the concession of some great   
principle of restraint and interference 
in national action that he can ever hope
 to find the secret of protection       
against national degradation4 ,i believe
 that the masses have a right to claim  
education from their government2 but    
only so far as they acknowledge the duty

 of yielding obedience to their         
government4 ,i believe they have a right
 to claim employment from their         
governors2 but only so far as they yield
 to the governor the direction and      
discipline of their labour2 and it is   
only so far as they grant to the men    
whom they may set over them the father's
 authority to check the childishnesses  
of national fancy1 and direct the       
waywardnesses of national energy1 that  
they have a right to ask that none of   
their distresses should be unrelieved1  
none of their weaknesses unwatched2 and 
that no grief1 nor nakedness1 nor peril1
 should exist for them1 against which   
the father's hand was not outstretched1 
or the father's shield uplifted4#c      
,note #c3 ,compare ,wordsworth's ,essay 
on the ,poor ,law ,amendment ,bill4 ,i  
quote one important passage3 ,but1 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  
extremity1 may we not still contend for 

the duty of a ,christian government1    
standing in loco parentis towards all   
its subjects1 to make such effectual    
provision that no one shall be in danger
 of perishing either through the neglect
 or harshness of its legislation8 ,or1  
waiving this1 is it not indisputable    
that the claim of the ,state to the     
allegiance1 involves the protection of  
the subject8 ,and1 as all rights in one 
party impose a correlative duty upon    
another1 it follows that the right of   
the ,state to require the services of   
its members1 even to the jeopardizing of
 their lives in the common defence1     
establishes a right in the people 7not  
to be gainsaid by utilitarians and      
economists7 to public support when1 from
 any cause1 they may be unable to       
support themselves4--7,see note #bnd1 in
 ,addenda47  #ag4 ,now1 ,i have pressed 
this upon you at more length than is    
needful or proportioned to our present  
purposes of inquiry1 because ,i would   
not for the first time speak to you on  

this subject of political economy       
without clearly stating what ,i believe 
to be its first grand principle4 ,but   
its bearing on the matter in hand is    
chiefly to prevent you from at once too 
violently dissenting from me when what  
,i may state to you as advisable economy
 in art appears to imply too much       
restraint or interference with the      
freedom of the patron or artist4 ,we are
 a little apt1 though on the whole a    
prudent nation1 to act too immediately  
on our impulses1 even in matters merely 
commercial2 much more in those involving
 continual appeals to our fancies4 ,how 
far1 therefore1 the proposed systems or 
restraints may be advisable1 it is for  
you to judge2 only ,i pray you not to be
 offended with them merely because they 
are systems and restraints4   #ah4 ,do  
you at all recollect that interesting   
passage of ,carlyle1 in which he        
compares1 in this country and at this   
day1 the understood and commercial value
 of man and horse2 and in which he      

wonders that the horse1 with its        
inferior brains and its awkward         
hoofiness1 instead of handiness1 should 
be always worth so many tens or scores  
of pounds in the market1 while the man1 
so far from always commanding his price 
in the market1 would often be thought to
 confer a service on the community by   
simply killing himself out of their way8
 ,well1 ,carlyle does not answer his own
 question1 because he supposes we shall 
at once see the answer4 ,the value of   
the horse consists simply in the fact of
 your being able to put a bridle on him4
 ,the value of the man consists         
precisely in the same thing4 ,if you can
 bridle him1 or1 which is better1 if he 
can bridle himself1 he will be a        
valuable creature directly4 ,otherwise1 
in a commercial point of view1 his value
 is either nothing1 or accidental only4 
,only1 of course1 the proper bridle of  
man is not a leathern one3 what kind of 
texture it is rightly made of1 we find  
from that command1 ,be ye not as the    

horse or as the mule which have no      
understanding1 whose mouths must be held
 in with bit and bridle4 ,you are not to
 be without the reins1 indeed2 but they 
are to be of another kind3 ,i will guide
 thee with mine ,eye4 ,so the bridle of 
man is to be the ,eye of ,god2 and if he
 rejects that guidance1 then the next   
best for him is the horse's and the     
mule's1 which have no understanding2 and
 if he rejects that1 and takes the bit  
fairly in his teeth1 then there is      
nothing left for him than the blood that
 comes out of the city1 up to the       
horse-bridles4   #ai4 ,quitting1        
however1 at last these general and      
serious laws of government--or rather   
bringing them down to our own business  
in hand--we have to consider three      
points of discipline in that particular 
branch of human labour which is         
concerned1 not with procuring of food1  
but the expression of emotion2 we have  
to consider respecting art3 first1 how  
to apply our labour to it2 then1 how to 

accumulate or preserve the results of   
labour2 and then1 how to distribute     
them4 ,but since in art the labour which
 we have to employ is the labour of a   
particular class of men--men who have   
special genius for the business--we have
 not only to consider how to apply the  
labour1 but1 first of all1 how to       
produce the labourer2 and thus the      
question in this particular case becomes
 fourfold3 first1 how to get your man of
 genius2 then1 how to employ your man of
 genius2 then1 how to accumulate and    
preserve his work in the greatest       
quantity2 and1 lastly1 how to distribute
 his work to the best national          
advantage4 ,let us take up these        
questions in succession4   #bj4 ,i4     
,discovery4--,how are we to get our men 
of genius3 that is to say1 by what means
 may we produce among us1 at any given  
time1 the greatest quantity of effective
 art-intellect8 ,a wide question1 you   
say1 involving an account of all the    
best means of art education4 ,yes1 but  

,i do not mean to go into the           
consideration of those2 ,i want only to 
state the few principles which lie at   
the foundation of the matter4 ,of these1
 the first is that you have always to   
find your artist1 not to make him2 you  
can't manufacture him1 any more than you
 can manufacture gold4 ,you can find    
him1 and refine him3 you dig him out as 
he lies nugget-fashion in the           
mountain-stream2 you bring him home2 and
 you make him into current coin1 or     
household plate1 but not one grain of   
him can you originally produce4 ,a      
certain quantity of art-intellect is    
born annually in every nation1 greater  
or less according to the nature and     
cultivation of the nation1 or race of   
men2 but a perfectly fixed quantity     
annually1 not increasable by one grain4 
,you may lose it1 or you may gather it2 
you may let it lie loose in the ravine1 
and buried in the sands1 or you may make
 kings' thrones of it1 and overlay      
temple gates with it1 as you choose3 but

 the best you can do with it is always  
merely sifting1 melting1 hammering1     
purifying--never creating4   #ba4 ,and  
there is another thing notable about    
this artistical gold2 not only is it    
limited in quantity1 but in use4 ,you   
need not make thrones or golden gates   
with it unless you like1 but assuredly  
you can't do anything else with it4 ,you
 can't make knives of it1 nor armour1   
nor railroads4 ,the gold won't cut you1 
and it won't carry you3 put it to a     
mechanical use1 and you destroy it at   
once4 ,it is quite true that in the     
greatest artists1 their proper          
artistical faculty is united with every 
other2 and you may make use of the other
 faculties1 and let the artistical one  
lie dormant4 ,for aught ,i know1 there  
may be two or three ,leonardo da ,vincis
 employed at this moment in your        
harbours and railroads3 but you are not 
employing their ,leonardesque or golden 
faculty there1--you are only oppressing 
and destroying it4 ,and the artistical  

gift in average men is not joined with  
others3 your born painter1 if you don't 
make a painter of him1 won't be a       
first-rate merchant1 or lawyer2 at all  
events1 whatever he turns out1 his own  
special gift is unemployed by you2 and  
in no wise helps him in that other      
business4 ,so here you have a certain   
quantity of a particular sort of        
intelligence1 produced for you annually 
by providential laws1 which you can only
 make use of by setting it to its own   
proper work1 and which any attempt to   
use otherwise involves the dead loss of 
so much human energy4   #bb4 ,well then1
 supposing we wish to employ it1 how is 
it to be best discovered and refined8   
,it is easily enough discovered4 ,to    
wish to employ it is to discover it4    
,all that you need is1 a school of      
trial#d in every important town1 in     
which those idle farmers' lads whom     
their masters never can keep out of     
mischief1 and those stupid tailors'     
'prentices who are always stitching the 

sleeves in wrong way upwards1 may have a
 try at this other trade2 only this     
school of trial must not be entirely    
regulated by formal laws of art         
education1 but must ultimately be the   
workshop of a good master painter1 who  
will try the lads with one kind of art  
and another1 till he finds out what they
 are fit for4  ,note #d3 ,see note #crd1
 in ,addenda4   #bc4 ,next1 after your  
trial school1 you want your easy and    
secure employment1 which is the matter  
of chief importance4 ,for1 even on the  
present system1 the boys who have really
 intense art capacity1 generally make   
painters of themselves2 but then1 the   
best half of their early energy is lost 
in the battle of life4 ,before a good   
painter can get employment1 his mind has
 always been embittered1 and his genius 
distorted4 ,a common mind usually       
stoops1 in plastic chill1 to whatever is
 asked of it1 and scrapes or daubs its  
way complacently into public favour4#e  
,but your great men quarrel with you1   

and you revenge yourselves by starving  
them for the first half of their lives4 
,precisely in the degree in which any   
painter possesses original genius1 is at
 present the increase of moral certainty
 that during his early years he will    
have a hard battle to fight2 and that   
just at the time when his conceptions   
ought to be full and happy1 his temper  
gentle1 and his hopes enthusiastic--just
 at that most critical period1 his heart
 is full of anxieties and household     
cares2 he is chilled by disappointments1
 and vexed by injustice2 he becomes     
obstinate in his errors1 no less than in
 his virtues1 and the arrows of his aims
 are blunted1 as the reeds of his trust 
are broken4  ,note #e3 ,see note #dth1  
in ,addenda4   #bd4 ,what we mainly     
want1 therefore1 is a means of          
sufficient and unagitated employment3   
not holding out great prizes for which  
young painters are to scramble2 but     
furnishing all with adequate support1   
and opportunity to display such power as

 they possess without rejection or      
mortification4 ,i need not say that the 
best field of labour of this kind would 
be presented by the constant progress of
 public works involving various         
decoration2 and we will presently       
examine what kind of public works may   
thus1 advantageously for the nation1 be 
in constant progress4 ,but a more       
important matter even than this of      
steady employment1 is the kind of       
criticism with which you1 the public1   
receive the works of the young men      
submitted to you4 ,you may do much harm 
by indiscreet praise and by indiscreet  
blame2 but remember the chief harm is   
always done by blame4 ,it stands to     
reason that a young man's work cannot be
 perfect4 ,it must be more or less      
ignorant2 it must be more or less       
feeble2 it is likely that it may be more
 or less experimental1 and if           
experimental1 here and there mistaken4  
,if1 therefore1 you allow yourself to   
launch out into sudden barking at the   

first faults you see1 the probability is
 that you are abusing the youth for some
 defect naturally and inevitably        
belonging to that stage of his progress2
 and that you might just as rationally  
find fault with a child for not being as
 prudent as a privy councillor1 or with 
a kitten for not being as grave as a    
cat4   #be4 ,but there is one fault     
which you may be quite sure is          
unnecessary1 and therefore a real and   
blamable fault3 that is haste1 involving
 negligence4 ,whenever you see that a   
young man's work is either bold or      
slovenly1 then you may attack it firmly2
 sure of being right4 ,if his work is   
bold1 it is insolent2 repress his       
insolence3 if it is slovenly1 it is     
indolent2 spur his indolence4 ,so long  
as he works in that dashing or impetuous
 way1 the best hope for him is in your  
contempt3 and it is only by the fact of 
his seeming not to seek your approbation
 that you may conjecture he deserves it4
   #bf4 ,but if he does deserve it1 be  

sure that you give it him1 else you not 
only run a chance of driving him from   
the right road by want of encouragement1
 but you deprive yourselves of the      
happiest privilege you will ever have of
 rewarding his labour4 ,for it is only  
the young who can receive much reward   
from men's praise3 the old1 when they   
are great1 get too far beyond and above 
you to care what you think of them4 ,you
 may urge them then with sympathy1 and  
surround them then with acclamation2 but
 they will doubt your pleasure1 and     
despise your praise4 ,you might have    
cheered them in their race through the  
asphodel meadows of their youth2 you    
might have brought the proud1 bright    
scarlet into their faces1 if you had but
 cried once to them ,well done1 as they 
dashed up to the first goal of their    
early ambition4 ,but now1 their pleasure
 is in memory1 and their ambition is in 
heaven4 ,they can be kind to you1 but   
you nevermore can be kind to them4 ,you 
may be fed with the fruit and fulness of

 their old age1 but you were as the     
nipping blight to them in their         
blossoming1 and your praise is only as  
the warm winds of autumn to the dying   
branches4   #bg4 ,there is one thought  
still1 the saddest of all1 bearing on   
this withholding of early help4 ,it is  
possible1 in some noble natures1 that   
the warmth and the affections of        
childhood may remain unchilled1 though  
unanswered2 and that the old man's heart
 may still be capable of gladness1 when 
the long-withheld sympathy is given at  
last4 ,but in these noble natures it    
nearly always happens that the chief    
motive of earthly ambition has not been 
to give delight to themselves1 but to   
their parents4 ,every noble youth looks 
back1 as to the chiefest joy which this 
world's honour ever gave him1 to the    
moment when first he saw his father's   
eyes flash with pride1 and his mother   
turn away her head1 lest he should take 
her tears for tears of sorrow4 ,even the
 lover's joy1 when some worthiness of   

his is acknowledged before his mistress1
 is not so great as that1 for it is not 
so pure--the desire to exalt himself in 
her eyes mixes with that of giving her  
delight2 but he does not need to exalt  
himself in his parents' eyes3 it is with
 the pure hope of giving them pleasure  
that he comes to tell them what he has  
done1 or what has been said of him2 and 
therefore he has a purer pleasure of his
 own4 ,and this purest and best of      
rewards you keep from him if you can3   
you feed him in his tender youth with   
ashes and dishonour2 and then you come  
to him1 obsequious1 but too late1 with  
your sharp laurel crown1 the dew all    
dried from off its leaves2 and you      
thrust it into his languid hand1 and he 
looks at you wistfully4 ,what shall he  
do with it8 ,what can he do1 but go and 
lay it on his mother's grave8   #bh4    
,thus1 then1 you see that you have to   
provide for your young men3 first1 the  
searching or discovering school2 then   
the calm employment2 then the justice of

 praise3 one thing more you have to do  
for them in preparing them for full     
service--namely1 to make1 in the noble  
sense of the word1 gentlemen of them2   
that is to say1 to take care that their 
minds receive such training1 that in all
 they paint they shall see and feel the 
noblest things4 ,i am sorry to say1 that
 of all parts of an artist's education1 
this is the most neglected among us2 and
 that even where the natural taste and  
feeling of the youth have been pure and 
true1 where there was the right stuff in
 him to make a gentleman of1 you may too
 frequently discern some jarring rents  
in his mind1 and elements of degradation
 in his treatment of subject1 owing to  
want of gentle training1 and of the     
liberal influence of literature4 ,this  
is quite visible in our greatest        
artists1 even in men like ,turner and   
,gainsborough2 while in the common grade
 of our second-rate painters the evil   
attains a pitch which is far too sadly  
manifest to need my dwelling upon it4   

,now1 no branch of art economy is more  
important than that of making the       
intellect at your disposal pure as well 
as powerful2 so that it may always      
gather for you the sweetest and fairest 
things4 ,the same quantity of labour    
from the same man's hand1 will1         
according as you have trained him1      
produce a lovely and useful work1 or a  
base and hurtful one2 and depend upon   
it1 whatever value it may possess1 by   
reason of the painter's skill1 its chief
 and final value1 to any nation1 depends
 upon its being able to exalt and       
refine1 as well as to please2 and that  
the picture which most truly deserves   
the name of an art-treasure is that     
which has been painted by a good man4   
#bi4 ,you cannot but see how far this   
would lead1 if ,i were to enlarge upon  
it4 ,i must take it up as a separate    
subject some other time3 only noticing  
at present that no money could be better
 spent by a nation than in providing a  
liberal and disciplined education for   

its painters1 as they advance into the  
critical period of their youth2 and     
that1 also1 a large part of their power 
during life depends upon the kind of    
subjects which you1 the public1 ask them
 for1 and therefore the kind of thoughts
 with which you require them to be      
habitually familiar4 ,i shall have more 
to say on this head when we come to     
consider what employment they should    
have in public buildings4   #cj4 ,there 
are many other points of nearly as much 
importance as these1 to be explained    
with reference to the development of    
genius2 but ,i should have to ask you to
 come and hear six lectures instead of  
two if ,i were to go into their detail4 
,for instance1 ,i have not spoken of the
 way in which you ought to look for     
those artificers in various manual      
trades1 who1 without possessing the     
order of genius which you would desire  
to devote to higher purposes1 yet       
possess wit1 and humour1 and sense of   
colour1 and fancy for form--all         

commercially valuable as quantities of  
intellect1 and all more or less         
expressible in the lower arts of        
iron-work1 pottery1 decorative          
sculpture1 and such like4 ,but these    
details1 interesting as they are1 ,i    
must commend to your own consideration1 
or leave for some future inquiry4 ,i    
want just now only to set the bearings  
of the entire subject broadly before    
you1 with enough of detailed            
illustration to make it intelligible2   
and therefore ,i must quit the first    
head of it here1 and pass to the        
second--namely1 how best to employ the  
genius we discover4 ,a certain quantity 
of able hands and heads being placed at 
our disposal1 what shall we most        
advisably set them upon8   #ca4 ,,ii4   
,,application4--,there are three main   
points the economist has to attend to in
 this4  ,first1 ,to set his men to      
various work4  ,secondly1 ,to easy work4
  ,thirdly1 ,to lasting work4  ,i shall 
briefly touch on the first two1 for ,i  

want to arrest your attention on the    
last4   #cb4 ,i say first to various    
work4 ,supposing you have two men of    
equal power as landscape painters--and  
both of them have an hour at your       
disposal4 ,you would not set them both  
to paint the same piece of landscape4   
,you would1 of course1 rather have two  
subjects than a repetition of one4      
,well1 supposing them sculptors1 will   
not the same rule hold8 ,you naturally  
conclude at once that it will2 but you  
will have hard work to convince your    
modern architects of that4 ,they will   
put twenty men to work1 to carve twenty 
capitals2 and all shall be the same4 ,if
 ,i could show you the architects' yards
 in ,england just now1 all open at once1
 perhaps you might see a thousand clever
 men1 all employed in carving the same  
design4 ,of the degradation and         
deathfulness to the art-intellect of the
 country involved in such a habit1 ,i   
have more or less been led to speak     
before now2 but ,i have not hitherto    

marked its definite tendency to increase
 the price of work1 as such4 ,when men  
are employed continually in carving the 
same ornaments1 they get into a         
monotonous and methodical habit of      
labour--precisely correspondent to that 
in which they would break stones1 or    
paint house-walls4 ,of course1 what they
 do so constantly1 they do easily2 and  
if you excite them temporarily by an    
increase of wages1 you may get much work
 done by them in a little time4 ,but1   
unless so stimulated1 men condemned to a
 monotonous exertion1 work--and always1 
by the laws of human nature1 must       
work--only at a tranquil rate1 not      
producing by any means a maximum result 
in a given time4 ,but if you allow them 
to vary their designs1 and thus interest
 their heads and hearts in what they are
 doing1 you will find them become eager1
 first1 to get their ideas expressed1   
and then to finish the expression of    
them2 and the moral energy thus brought 
to bear on the matter quickens1 and     

therefore cheapens1 the production in a 
most important degree4 ,sir ,thomas     
,deane1 the architect of the new ,museum
 at ,oxford1 told me1 as ,i passed      
through ,oxford on my way here1 that he 
found that1 owing to this cause alone1  
capitals of various design could be     
executed cheaper than capitals of       
similar design 7the amount of hand      
labour in each being the same7 by about 
#cj per cent4   #cc4 ,well1 that is the 
first way1 then1 in which you will      
employ your intellect well2 and the     
simple observance of this plain rule of 
political economy will effect a noble   
revolution in your architecture1 such as
 you cannot at present so much as       
conceive4 ,then the second way in which 
we are to guard against waste is by     
setting our men to the easiest1 and     
therefore the quickest1 work which will 
answer the purpose4 ,marble1 for        
instance1 lasts quite as long as        
granite1 and is much softer to work2    
therefore1 when you get hold of a good  

sculptor1 give him marble to carve--not 
granite4   #cd4 ,that1 you say1 is      
obvious enough4 ,yes2 but it is not so  
obvious how much of your workmen's time 
you waste annually in making them cut   
glass1 after it has got hard1 when you  
ought to make them mould it while it is 
soft4 ,it is not so obvious how much    
expense you waste in cutting diamonds   
and rubies1 which are the hardest things
 you can find1 into shapes that mean    
nothing1 when the same men might be     
cutting sandstone and freestone into    
shapes that meant something4 ,it is not 
so obvious how much of the artists' time
 in ,italy you waste1 by forcing them to
 make wretched little pictures for you  
out of crumbs of stone glued together at
 enormous cost1 when the tenth of the   
time would make good and noble pictures 
for you out of water-colour4   #ce4 ,i  
could go on giving you almost numberless
 instances of this great commercial     
mistake2 but ,i should only weary and   
confuse you4 ,i therefore commend also  

this head of our subject to your own    
meditation1 and proceed to the last ,i  
named--the last ,i shall task your      
patience with to-night4 ,you know we are
 now considering how to apply our       
genius2 and we were to do it as         
economists1 in three ways3--  ,to       
various work2  ,to easy work2  ,to      
lasting work4   #cf4 ,this lasting of   
the work1 then1 is our final question4  
,many of you may perhaps remember that  
,michael ,angelo was once commanded by  
,pietro di ,medici to mould a statue out
 of snow1 and that he obeyed the        
command4#f ,i am glad1 and we have all  
reason to be glad1 that such a fancy    
ever came into the mind of the unworthy 
prince1 and for this cause3 that ,pietro
 di ,medici then gave1 at the period of 
one great epoch of consummate power in  
the arts1 the perfect1 accurate1 and    
intensest possible type of the greatest 
error which nations and princes can     
commit1 respecting the power of genius  
entrusted to their guidance4 ,you had   

there1 observe1 the strongest genius in 
the most perfect obedience2 capable of  
iron independence1 yet wholly submissive
 to the patron's will2 at once the most 
highly accomplished and the most        
original1 capable of doing as much as   
man could do1 in any direction that man 
could ask4 ,and its governor1 and guide1
 and patron sets it to build a statue in
 snow--to put itself into the service of
 annihilation--to make a cloud of       
itself1 and pass away from the earth4   
,note #f3 ,see the noble passage on this
 tradition in ,casa ,guidi ,windows4    
#cg4 ,now this1 so precisely and        
completely done by ,pietro di ,medici1  
is what we are all doing1 exactly in the
 degree in which we direct the genius   
under our patronage to work in more or  
less perishable materials4 ,so far as we
 induce painters to work in fading      
colours1 or architects to build with    
imperfect structure1 or in any other way
 consult only immediate ease and        
cheapness in the production of what we  

want1 to the exclusion of provident     
thought as to its permanence and        
serviceableness in after ages2 so far we
 are forcing our ,michael ,angelos to   
carve in snow4 ,the first duty of the   
economist in art is1 to see that no     
intellect shall thus glitter merely in  
the manner of hoar-frost2 but that it   
shall be well vitrified1 like a painted 
window1 and shall be set so between     
shafts of stone and bands of iron1 that 
it shall bear the sunshine upon it1 and 
send the sunshine through it1 from      
generation to generation4   #ch4 ,i can 
conceive1 however1 some political       
economist to interrupt me here1 and say1
 ,if you make your art wear too well1   
you will soon have too much of it2 you  
will throw your artists quite out of    
work4 ,better allow for a little        
wholesome evanescence--beneficent       
destruction3 let each age provide art   
for itself1 or we shall soon have so    
many good pictures that we shall not    
know what to do with them4  ,remember1  

my dear hearers1 who are thus thinking1 
that political economy1 like every other
 subject1 cannot be dealt with          
effectively if we try to solve two      
questions at a time instead of one4 ,it 
is one question1 how to get plenty of a 
thing2 and another1 whether plenty of it
 will be good for us4 ,consider these   
two matters separately2 never confuse   
yourself by interweaving one with the   
other4 ,it is one question1 how to treat
 your fields so as to get a good        
harvest2 another1 whether you wish to   
have a good harvest1 or would rather    
like to keep up the price of corn4 ,it  
is one question1 how to graft your trees
 so as to grow most apples2 and quite   
another1 whether having such a heap of  
apples in the storeroom will not make   
them all rot4   #ci4 ,now1 therefore1   
that we are talking only about grafting 
and growing1 pray do not vex yourselves 
with thinking what you are to do with   
the pippins4 ,it may be desirable for us
 to have much art1 or little--we will   

examine that by-and-bye2 but just now1  
let us keep to the simple consideration 
how to get plenty of good art if we want
 it4 ,perhaps it might be just as well  
that a man of moderate income should be 
able to possess a good picture1 as that 
any work of real merit should cost      
#ejjl4 or #a1jjjl42 at all events1 it is
 certainly one of the branches of       
political economy to ascertain how1 if  
we like1 we can get things in           
quantities--plenty of corn1 plenty of   
wine1 plenty of gold1 or plenty of      
pictures4  ,it has just been said1 that 
the first great secret is to produce    
work that will last4 ,now1 the          
conditions of work lasting are twofold3 
it must not only be in materials that   
will last1 but it must be itself of a   
quality that will last--it must be good 
enough to bear the test of time4 ,if it 
is not good1 we shall tire of it        
quickly1 and throw it aside--we shall   
have no pleasure in the accumulation of 
it4 ,so that the first question of a    

good art-economist respecting any work  
is1 ,will it lose its flavour by        
keeping8 ,it may be very amusing now1   
and look much like a work of genius2 but
 what will be its value a hundred years 
hence8  ,you cannot always ascertain    
this4 ,you may get what you fancy to be 
work of the best quality1 and yet find  
to your astonishment that it won't keep4
 ,but of one thing you may be sure1 that
 art which is produced hastily will also
 perish hastily2 and that what is       
cheapest to you now1 is likely to be    
dearest in the end4   #dj4 ,i am sorry  
to say1 the great tendency of this age  
is to expend its genius in perishable   
art of this kind1 as if it were a       
triumph to burn its thoughts away in    
bonfires4 ,there is a vast quantity of  
intellect and of labour consumed        
annually in our cheap illustrated       
publications2 you triumph in them2 and  
you think it so grand a thing to get so 
many woodcuts for a penny4 ,why1        
woodcuts1 penny and all1 are as much    

lost to you as if you had invested your 
money in gossamer4 ,more lost1 for the  
gossamer could only tickle your face1   
and glitter in your eyes2 it could not  
catch your feet and trip you up3 but the
 bad art can1 and does2 for you can't   
like good woodcuts as long as you look  
at the bad ones4 ,if we were at this    
moment to come across a ,titian woodcut1
 or a ,drer woodcut1 we should not like 
it--those of us at least who are        
accustomed to the cheap work of the day4
 ,we don't like1 and can't like1 that   
long2 but when we are tired of one bad  
cheap thing1 we throw it aside and buy  
another bad cheap thing2 and so keep    
looking at bad things all our lives4    
,now1 the very men who do all that quick
 bad work for us are capable of doing   
perfect work4 ,only1 perfect work can't 
be hurried1 and therefore it can't be   
cheap beyond a certain point4 ,but      
suppose you pay twelve times as much as 
you do now1 and you have one woodcut for
 a shilling instead of twelve2 and the  

one woodcut for a shilling is as good as
 art can be1 so that you will never tire
 of looking at it2 and is struck on good
 paper with good ink1 so that you will  
never wear it out by handling it2 while 
you are sick of your penny-each cuts by 
the end of the week1 and have torn them 
mostly in half too4 ,isn't your         
shilling's worth the best bargain8      
#da4 ,it is not1 however1 only in       
getting prints or woodcuts of the best  
kind that you will practise economy4    
,there is a certain quality about an    
original drawing which you cannot get in
 a woodcut1 and the best part of the    
genius of many men is only expressible  
in original work1 whether with pen or   
ink--pencil or colours4 ,this is not    
always the case2 but in general1 the    
best men are those who can only express 
themselves on paper or canvas2 and you  
will therefore1 in the long run1 get    
most for your money by buying original  
work2 proceeding on the principle       
already laid down1 that the best is     

likely to be the cheapest in the end4   
,of course1 original work cannot be     
produced under a certain cost4 ,if you  
want a man to make you a drawing which  
takes him six days1 you must1 at all    
events1 keep him for six days in bread  
and water1 fire and lodging2 that is the
 lowest price at which he can do it for 
you1 but that is not very dear3 and the 
best bargain which can possibly be made 
honestly in art--the very ideal of a    
cheap purchase to the purchaser--is the 
original work of a great man fed for as 
many days as are necessary on bread and 
water1 or perhaps we may say with as    
many onions as will keep him in good    
humour4 ,that is the way by which you   
will always get most for your money2 no 
mechanical multiplication or ingenuity  
of commercial arrangements will ever get
 you a better penny's worth of art than 
that4   #db4 ,without1 however1 pushing 
our calculations quite to this          
prison-discipline extreme1 we may lay it
 down as a rule in art-economy1 that    

original work is1 on the whole1 cheapest
 and best worth having4 ,but precisely  
in proportion to the value of it as a   
production1 becomes the importance of   
having it executed in permanent         
materials4 ,and here we come to note the
 second main error of the day1 that we  
not only ask our workmen for bad art1   
but we make them put it into bad        
substance4 ,we have1 for example1 put a 
great quantity of genius1 within the    
last twenty years1 into water-colour    
drawing1 and we have done this with the 
most reckless disregard whether either  
the colours or the paper will stand4 ,in
 most instances1 neither will4 ,by      
accident1 it may happen that the colours
 in a given drawing have been of good   
quality1 and its paper uninjured by     
chemical processes4 ,but you take not   
the least care to ensure these being so2
 ,i have myself seen the most           
destructive changes take place in       
water-colour drawings within twenty     
years after they were painted2 and from 

all ,i can gather respecting the        
recklessness of modern paper            
manufacture1 my belief is1 that though  
you may still handle an ,albert ,drer   
engraving1 two hundred years old1       
fearlessly1 not one-half of that time   
will have passed over your modern       
water-colours1 before most of them will 
be reduced to mere white or brown rags2 
and your descendants1 twitching them    
contemptuously into fragments between   
finger and thumb1 will mutter against   
you1 half in scorn and half in anger1   
,those wretched nineteenth century      
people6 they kept vapouring and fuming  
about the world1 doing what they called 
business1 and they couldn't make a sheet
 of paper that wasn't rotten4   #dc4    
,and note that this is no unimportant   
portion of your art economy at this     
time4 ,your water-colour painters are   
becoming every day capable of expressing
 greater and better things2 and their   
material is especially adapted to the   
turn of your best artists' minds4 ,the  

value which you could accumulate in work
 of this kind would soon become a most  
important item in the national          
art-wealth1 if only you would take the  
little pains necessary to secure its    
permanence4 ,i am inclined to think1    
myself1 that water-colour ought not to  
be used on paper at all1 but only on    
vellum1 and then1 if properly taken care
 of1 the drawing would be almost        
imperishable4 ,still1 paper is a much   
more convenient material for rapid work2
 and it is an infinite absurdity not to 
secure the goodness of its quality1 when
 we could do so without the slightest   
trouble4 ,among the many favours which  
,i am going to ask from our paternal    
government1 when we get it1 will be that
 it will supply its little boys with    
good paper4 ,you have nothing to do but 
to let the government establish a paper 
manufactory1 under the superintendence  
of any of our leading chemists1 who     
should be answerable for the safety and 
completeness of all the processes of the

 manufacture4 ,the government stamp on  
the corner of your sheet of             
drawing-paper1 made in the perfect way1 
should cost you a shilling1 which would 
add something to the revenue2 and when  
you bought a water-colour drawing for   
fifty or a hundred guineas1 you would   
have merely to look in the corner for   
your stamp1 and pay your extra shilling 
for the security that your hundred      
guineas were given really for a drawing1
 and not for a coloured rag4 ,there need
 be no monopoly or restriction in the   
matter2 let the paper manufacturers     
compete with the government1 and if     
people liked to save their shilling1 and
 take their chance1 let them2 only1 the 
artist and purchaser might then be sure 
of good material1 if they liked1 and now
 they cannot be4   #dd4 ,i should like  
also to have a government colour        
manufactory2 though that is not so      
necessary1 as the quality of colour is  
more within the artist's power of       
testing1 and ,i have no doubt that any  

painter may get permanent colour from   
the respectable manufacturers1 if he    
chooses4 ,i will not attempt to follow  
the subject out at all as it respects   
architecture1 and our methods of modern 
building2 respecting which ,i have had  
occasion to speak before now4   #de4    
,but ,i cannot pass without some brief  
notice our habit--continually1 as it    
seems to me1 gaining strength--of       
putting a large quantity of thought and 
work1 annually1 into things which are   
either in their nature necessarily      
perishable1 as dress2 or else into      
compliances with the fashion of the day1
 in things not necessarily perishable1  
as plate4 ,i am afraid almost the first 
idea of a young rich couple setting up  
house in ,london1 is1 that they must    
have new plate4 ,their father's plate   
may be very handsome1 but the fashion is
 changed4 ,they will have a new service 
from the leading manufacturer1 and the  
old plate1 except a few apostle spoons1 
and a cup which ,charles the ,second    

drank a health in to their pretty       
ancestress1 is sent to be melted down1  
and made up with new flourishes and     
fresh lustre4 ,now1 so long as this is  
the case--so long1 observe1 as fashion  
has influence on the manufacture of     
plate--so long you cannot have a        
goldsmith's art in this country4 ,do you
 suppose any workman worthy the name    
will put his brains into a cup1 or an   
urn1 which he knows is to go to the     
melting-pot in half a score years8 ,he  
will not2 you don't ask or expect it of 
him4 ,you ask of him nothing but a      
little quick handicraft--a clever twist 
of a handle here1 and a foot there1 a   
convolvulus from the newest school of   
design1 a pheasant from ,landseer's game
 cards2 a couple of sentimental figures 
for supporters1 in the style of the     
signs of insurance offices1 then a      
clever touch with the burnisher1 and    
there's your epergne1 the admiration of 
all the footmen at the                  
wedding-breakfast1 and the torment of   

some unfortunate youth who cannot see   
the pretty girl opposite to him1 through
 its tyrannous branches4   #df4 ,but you
 don't suppose that that's goldsmith's  
work8 ,goldsmith's work is made to last1
 and made with the men's whole heart and
 soul in it2 true goldsmith's work1 when
 it exists1 is generally the means of   
education of the greatest painters and  
sculptors of the day4 ,francia was a    
goldsmith2 ,francia was not his own     
name1 but that of his master the        
jeweller2 and he signed his pictures    
almost always1 ,francia1 the goldsmith1 
for love of his master2 ,ghirlandajo was
 a goldsmith1 and was the master of     
,michael ,angelo2 ,verrocchio was a     
goldsmith1 and was the master of        
,leonardo da ,vinci4 ,ghiberti was a    
goldsmith1 and beat out the bronze gates
 which ,michael ,angelo said might serve
 for gates of ,paradise4#g ,but if ever 
you want work like theirs again1 you    
must keep it1 though it should have the 
misfortune to become old-fashioned4 ,you

 must not break it up1 nor melt it any  
more4 ,there is no economy in that2 you 
could not easily waste intellect more   
grievously4 ,nature may melt her        
goldsmith's work at every sunset if she 
chooses2 and beat it out into chased    
bars again at every sunrise2 but you    
must not4 ,the way to have a truly noble
 service of plate1 is to keep adding to 
it1 not melting it4 ,at every marriage1 
and at every birth1 get a new piece of  
gold or silver if you will1 but with    
noble workmanship on it1 done for all   
time1 and put it among your treasures2  
that is one of the chief things which   
gold was made for1 and made             
incorruptible for4 ,when we know a      
little more of political economy1 we    
shall find that none but partially      
savage nations need1 imperatively1 gold 
for their currency2#h but gold has been 
given us1 among other things1 that we   
might put beautiful work into its       
imperishable splendour1 and that the    
artists who have the most wilful fancies

 may have a material which will drag    
out1 and beat out1 as their dreams      
require1 and will hold itself together  
with fantastic tenacity1 whatever rare  
and delicate service they set it upon4  
,note #g3 ,several reasons may account  
for the fact that goldsmith's work is so
 wholesome for young artists3 first1    
that it gives great firmness of hand to 
deal for some time with a solid         
substance2 again1 that it induces       
caution and steadiness--a boy trusted   
with chalk and paper suffers an         
immediate temptation to scrawl upon it  
and play with it1 but he dares not      
scrawl on gold1 and he cannot play with 
it2 and1 lastly1 that it gives great    
delicacy and precision of touch to work 
upon minute forms1 and to aim at        
producing richness and finish of design 
correspondent to the preciousness of the
 material4  ,note #h3 ,see note in      
,addenda on the nature of property4     
#dg4 ,so here is one branch of          
decorative art in which rich people may 

indulge themselves unselfishly2 if they 
ask for good art in it1 they may be sure
 in buying gold and silver plate that   
they are enforcing useful education on  
young artists4 ,but there is another    
branch of decorative art in which ,i am 
sorry to say we cannot1 at least under  
existing circumstances1 indulge         
ourselves1 with the hope of doing good  
to anybody3 ,i mean the great and subtle
 art of dress4   #dh4 ,and here ,i must 
interrupt the pursuit of our subject for
 a moment or two1 in order to state one 
of the principles of political economy1 
which1 though it is1 ,i believe1 now    
sufficiently understood and asserted by 
the leading masters of the science1 is  
not yet1 ,i grieve to say1 acted upon by
 the plurality of those who have the    
management of riches4 ,whenever we spend
 money1 we of course set people to work3
 that is the meaning of spending money2 
we may1 indeed1 lose it without         
employing anybody2 but1 whenever we     
spend it1 we set a number of people to  

work1 greater or less1 of course1       
according to the rate of wages1 but1 in 
the long run1 proportioned to the sum we
 spend4 ,well1 your shallow people1     
because they see that however they spend
 money they are always employing        
somebody1 and1 therefore1 doing some    
good1 think and say to themselves1 that 
it is all one how they spend it--that   
all their apparently selfish luxury is1 
in reality1 unselfish1 and is doing just
 as much good as if they gave all their 
money away1 or perhaps more good2 and ,i
 have heard foolish people even declare 
it as a principle of political economy1 
that whoever invented a new want#i      
conferred a good on the community4 ,i   
have not words strong enough--at least1 
,i could not1 without shocking you1 use 
the words which would be strong         
enough--to express my estimate of the   
absurdity and the mischievousness of    
this popular fallacy4 ,so1 putting a    
great restraint upon myself1 and using  
no hard words1 ,i will simply try to    

state the nature of it1 and the extent  
of its influence4  ,note #i3 ,see note  
#eth1 in ,addenda4   #di4 ,granted1 that
 whenever we spend money for whatever   
purpose1 we set people to work2 and     
passing by1 for the moment1 the question
 whether the work we set them to is all 
equally healthy and good for them1 we   
will assume that whenever we spend a    
guinea we provide an equal number of    
people with healthy maintenance for a   
given time4 ,but1 by the way in which we
 spend it1 we entirely direct the labour
 of those people during that given time4
 ,we become their masters or mistresses1
 and we compel them to produce1 within a
 certain period1 a certain article4     
,now1 that article may be a useful and  
lasting one1 or it may be a useless and 
perishable one--it may be one useful to 
the whole community1 or useful only to  
ourselves4 ,and our selfishness and     
folly1 or our virtue and prudence1 are  
shown1 not by our spending money1 but by
 our spending it for the wrong or the   

right thing2 and we are wise and kind1  
not in maintaining a certain number of  
people for a given period1 but only in  
requiring them to produce during that   
period1 the kind of things which shall  
be useful to society1 instead of those  
which are only useful to ourselves4     
#ej4 ,thus1 for instance3 if you are a  
young lady1 and employ a certain number 
of sempstresses for a given time1 in    
making a given number of simple and     
serviceable dresses--suppose1 seven2 of 
which you can wear one yourself for half
 the winter1 and give six away to poor  
girls who have none1 you are spending   
your money unselfishly4 ,but if you     
employ the same number of sempstresses  
for the same number of days1 in making  
four1 or five1 or six beautiful flounces
 for your own ball-dress--flounces which
 will clothe no one but yourself1 and   
which you will yourself be unable to    
wear at more than one ball--you are     
employing your money selfishly4 ,you    
have maintained1 indeed1 in each case1  

the same number of people2 but in the   
one case you have directed their labour 
to the service of the community2 in the 
other case you have consumed it wholly  
upon yourself4 ,i don't say you are     
never to do so2 ,i don't say you ought  
not sometimes to think of yourselves    
only1 and to make yourselves as pretty  
as you can2 only do not confuse         
coquettishness with benevolence1 nor    
cheat yourselves into thinking that all 
the finery you can wear is so much put  
into the hungry mouths of those beneath 
you3 it is not so2 it is what you       
yourselves1 whether you will or no1 must
 sometimes instinctively feel it to     
be--it is what those who stand shivering
 in the streets1 forming a line to watch
 you as you step out of your carriages1 
know it to be2 those fine dresses do not
 mean that so much has been put into    
their mouths1 but that so much has been 
taken out of their mouths4   #ea4 ,the  
real politico-economical signification  
of every one of those beautiful         

toilettes1 is just this3 that you have  
had a certain number of people put for a
 certain number of days wholly under    
your authority1 by the sternest of      
slave-masters--hunger and cold2 and you 
have said to them1 ,i will feed you1    
indeed1 and clothe you1 and give you    
fuel for so many days2 but during those 
days you shall work for me only3 your   
little brothers need clothes1 but you   
shall make none for them3 your sick     
friend needs clothes1 but you shall make
 none for her3 you yourself will soon   
need another and a warmer dress1 but you
 shall make none for yourself4 ,you     
shall make nothing but lace and roses   
for me2 for this fortnight to come1 you 
shall work at the patterns and petals1  
and then ,i will crush and consume them 
away in an hour4 ,you will perhaps      
answer--,it may not be particularly     
benevolent to do this1 and we won't call
 it so2 but at any rate we do no wrong  
in taking their labour when we pay them 
their wages3 if we pay for their work1  

we have a right to it4   #eb4 ,no2--a   
thousand times no4 ,the labour which you
 have paid for1 does indeed become1 by  
the act of purchase1 your own labour3   
you have bought the hands and the time  
of those workers2 they are1 by right and
 justice1 your own hands1 your own time4
 ,but have you a right to spend your own
 time1 to work with your own hands1 only
 for your own advantage8--much more1    
when1 by purchase1 you have invested    
your own person with the strength of    
others2 and added to your own life1 a   
part of the life of others8 ,you may1   
indeed1 to a certain extent1 use their  
labour for your delight3 remember1 ,i am
 making no general assertions against   
splendour of dress1 or pomp of          
accessories of life2 on the contrary1   
there are many reasons for thinking that
 we do not at present attach enough     
importance to beautiful dress1 as one of
 the means of influencing general taste 
and character4 ,but ,i do say1 that you 
must weigh the value of what you ask    

these workers to produce for you in its 
own distinct balance2 that on its own   
worthiness or desirableness rests the   
question of your kindness1 and not      
merely on the fact of your having       
employed people in producing it3 and ,i 
say further1 that as long as there are  
cold and nakedness in the land around   
you1 so long there can be no question at
 all but that splendour of dress is a   
crime4 ,in due time1 when we have       
nothing better to set people to work at1
 it may be right to let them make lace  
and cut jewels2 but as long as there are
 any who have no blankets for their     
beds1 and no rags for their bodies1 so  
long it is blanket-making and tailoring 
we must set people to work at--not lace4
   #ec4 ,and it would be strange1 if at 
any great assembly which1 while it      
dazzled the young and the thoughtless1  
beguiled the gentler hearts that beat   
beneath the embroidery1 with a placid   
sensation of luxurious benevolence--as  
if by all that they wore in waywardness 

of beauty1 comfort had been first given 
to the distressed1 and aid to the       
indigent2 it would be strange1 ,i say1  
if1 for a moment1 the spirits of ,truth 
and of ,terror1 which walk invisibly    
among the masques of the earth1 would   
lift the dimness from our erring        
thoughts1 and show us how--inasmuch as  
the sums exhausted for that magnificence
 would have given back the failing      
breath to many an unsheltered outcast on
 moor and street--they who wear it have 
literally entered into partnership with 
,death2 and dressed themselves in his   
spoils4 ,yes1 if the veil could be      
lifted not only from your thoughts1 but 
from your human sight1 you would        
see--the angels do see--on those gay    
white dresses of yours1 strange dark    
spots1 and crimson patterns that you    
knew not of--spots of the               
inextinguishable red that all the seas  
cannot wash away2 yes1 and among the    
pleasant flowers that crown your fair   
heads1 and glow on your wreathed hair1  

you would see that one weed was always  
twisted which no one thought of--the    
grass that grows on graves4   #ed4 ,it  
was not1 however1 this last1 this       
clearest and most appalling view of our 
subject1 that ,i intended to ask you to 
take this evening2 only it is impossible
 to set any part of the matter in its   
true light1 until we go to the root of  
it4 ,but the point which it is our      
special business to consider is1 not    
whether costliness of dress is contrary 
to charity2 but whether it is not       
contrary to mere worldly wisdom3        
whether1 even supposing we knew that    
splendour of dress did not cost         
suffering or hunger1 we might not put   
the splendour better in other things    
than dress4 ,and1 supposing our mode of 
dress were really graceful or beautiful1
 this might be a very doubtful question2
 for ,i believe true nobleness of dress 
to be an important means of education1  
as it certainly is a necessity to any   
nation which wishes to possess living   

art1 concerned with portraiture of human
 nature4 ,no good historical painting   
ever yet existed1 or ever can exist1    
where the dresses of the people of the  
time are not beautiful3 and had it not  
been for the lovely and fantastic       
dressing of the thirteenth to the       
sixteenth centuries1 neither ,french1   
nor ,florentine1 nor ,venetian art could
 have risen to anything like the rank it
 reached4 ,still1 even then1 the best   
dressing was never the costliest2 and   
its effect depended much more on its    
beautiful and1 in early times1 modest1  
arrangement1 and on the simple and      
lovely masses of its colour1 than on    
gorgeousness of clasp or embroidery4    
#ee4 ,whether we can ever return to any 
of those more perfect types of form1 is 
questionable2 but there can be no more  
question that all the money we spend on 
the forms of dress at present worn1 is1 
so far as any good purpose is concerned1
 wholly lost4 ,mind1 in saying this1 ,i 
reckon among good purposes the purpose  

which young ladies are said sometimes to
 entertain--of being married2 but they  
would be married quite as soon 7and     
probably to wiser and better husbands7  
by dressing quietly1 as by dressing     
brilliantly3 and ,i believe it would    
only be needed to lay fairly and largely
 before them the real good which might  
be effected by the sums they spend in   
toilettes1 to make them trust at once   
only to their bright eyes and braided   
hair for all the mischief they have a   
mind to4 ,i wish we could1 for once1 get
 the statistics of a ,london season4    
,there was much complaining talk in     
,parliament1 last week1 of the vast sum 
the nation has given for the best ,paul 
,veronese in ,venice--#ad1jjjl43 ,i     
wonder what the nation meanwhile has    
given for its ball-dresses6 ,suppose we 
could see the ,london milliners' bills1 
simply for unnecessary breadths of slip 
and flounce1 from ,april to ,july2 ,i   
wonder whether #ad1jjjl4 would cover    
them4 ,but the breadths of slip and     

flounce are by this time as much lost   
and vanished as last year's snow2 only  
they have done less good3 but the ,paul 
,veronese will last for centuries1 if we
 take care of it2 and yet1 we grumble at
 the price given for the painting1 while
 no one grumbles at the price of pride4 
#ef4 ,time does not permit me to go into
 any farther illustration of the various
 modes in which we build our statue out 
of snow1 and waste our labour on things 
that vanish4 ,i must leave you to follow
 out the subject for yourselves1 as ,i  
said ,i should1 and proceed1 in our next
 lecture1 to examine the two other      
branches of our subject--namely1 how to 
accumulate our art1 and how to          
distribute it4 ,but1 in closing1 as we  
have been much on the topic of good     
government1 both of ourselves and       
others1 let me just give you one more   
illustration of what it means1 from that
 old art of which1 next evening1 ,i     
shall try to convince you that the      
value1 both moral and mercantile1 is    

greater than we usually suppose4   #eg4 
,one of the frescoes by ,ambrozio       
,lorenzetti1 in the town-hall of ,siena1
 represents1 by means of symbolical     
figures1 the principles of ,good ,civic 
,government and of ,good ,government in 
general4 ,the figure representing this  
noble ,civic ,government is enthroned1  
and surrounded by figures representing  
the ,virtues1 variously supporting or   
administering its authority4 ,now1      
observe what work is given to each of   
these virtues4 ,three winged            
ones--,faith1 ,hope1 and                
,charity--surround the head of the      
figure2 not in mere compliance with the 
common and heraldic laws of precedence  
among ,virtues1 such as we moderns      
observe habitually1 but with peculiar   
purpose on the part of the painter4     
,faith1 as thus represented ruling the  
thoughts of the ,good ,governor1 does   
not mean merely religious faith1        
understood in those times to be         
necessary to all persons--governed no   

less than governors--but it means the   
faith which enables work to be carried  
out steadily1 in spite of adverse       
appearances and expediencies2 the faith 
in great principles1 by which a civic   
ruler looks past all the immediate      
checks and shadows that would daunt a   
common man1 knowing that what is rightly
 done will have a right issue1 and      
holding his way in spite of pullings at 
his cloak and whisperings in his ear1   
enduring1 as having in him a faith which
 is evidence of things unseen4   #eh4   
,and ,hope1 in like manner1 is here not 
the heavenward hope which ought to      
animate the hearts of all men2 but she  
attends upon ,good ,government1 to show 
that all such government is expectant as
 well as conservative2 that if it ceases
 to be hopeful of better things1 it     
ceases to be a wise guardian of present 
things3 that it ought never1 as long as 
the world lasts1 to be wholly content   
with any existing state of institution  
or possession1 but to be hopeful still  

of more wisdom and power2 not clutching 
at it restlessly or hastily1 but feeling
 that its real life consists in steady  
ascent from high to higher3             
conservative1 indeed1 and jealously     
conservative of old things1 but         
conservative of them as pillars1 not as 
pinnacles--as aids1 but not as idols2   
and hopeful chiefly1 and active1 in     
times of national trial or distress1    
according to those first and notable    
words describing the queenly nation3    
,she riseth1 while it is yet night4     
#ei4 ,and again1 the winged ,charity    
which is attendant on ,good ,government 
has1 in this fresco1 a peculiar office4 
,can you guess what8 ,if you consider   
the character of contest which so often 
takes place among kings for their       
crowns1 and the selfish and tyrannous   
means they commonly take to aggrandize  
or secure their power1 you will1        
perhaps1 be surprised to hear that the  
office of ,charity is to crown the      
,king4 ,and yet1 if you think of it a   

little1 you will see the beauty of the  
thought which sets her in this function3
 since1 in the first place1 all the     
authority of a good governor should be  
desired by him only for the good of his 
people1 so that it is only ,love that   
makes him accept or guard his crown3 in 
the second place1 his chief greatness   
consists in the exercise of this love1  
and he is truly to be revered only so   
far as his acts and thoughts are those  
of kindness2 so that ,love is the light 
of his crown1 as well as the giver of   
it3 lastly1 because his strength depends
 on the affections of his people1 and it
 is only their love which can securely  
crown him1 and for ever4 ,so that ,love 
is the strength of his crown as well as 
the light of it4   #fj4 ,then1          
surrounding the ,king1 or in various    
obedience to him1 appear the dependent  
virtues1 as ,fortitude1 ,temperance1    
,truth1 and other attendant spirits1 of 
all which ,i cannot now give account1   
wishing you only to notice the one to   

whom are entrusted the guidance and     
administration of the public revenues4  
,can you guess which it is likely to be8
 ,charity1 you would have thought1      
should have something to do with the    
business2 but not so1 for she is too hot
 to attend carefully to it4 ,prudence1  
perhaps1 you think of in the next place4
 ,no1 she is too timid1 and loses       
opportunities in making up her mind4    
,can it be ,liberality then8 ,no3       
,liberality is entrusted with some small
 sums2 but she is a bad accountant1 and 
is allowed no important place in the    
exchequer4 ,but the treasures are given 
in charge to a virtue of which we hear  
too little in modern times1 as distinct 
from others2 ,magnanimity3 largeness of 
heart3 not softness or weakness of      
heart1 mind you--but capacity of        
heart--the great measuring virtue1 which
 weighs in heavenly balances all that   
may be given1 and all that may be       
gained2 and sees how to do noblest      
things in noblest ways3 which of two    

goods comprehends and therefore chooses 
the greater3 which of two personal      
sacrifices dares and accepts the larger3
 which1 out of the avenues of           
beneficence1 treads always that which   
opens farthest into the blue fields of  
futurity3 that character1 in fine1      
which1 in those words taken by us at    
first for the description of a ,queen   
among the nations1 looks less to the    
present power than to the distant       
promise2 ,strength and honour are in her
 clothing1--and she shall rejoice ,,in  
,,time ,,to ,,come4     ,,lecture ,,ii4 
,,the ,,accumulation ,,and              
,,distribution ,,of ,,art4              
,continuation of the previous ,lecture2 
delivered ,july #ac1 #aheg4   #fa4 ,the 
heads of our subject which remain for   
our consideration this evening are1 you 
will remember1 the accumulation and the 
distribution of works of art4 ,our      
complete inquiry fell into four         
divisions--first1 how to get our genius2
 then1 how to apply our genius2 then1   

how to accumulate its results2 and      
lastly1 how to distribute them4 ,we     
considered1 last evening1 how to        
discover and apply it2--we have to-night
 to examine the modes of its            
preservation and distribution4   #fb4   
,,iii4 ,,accumulation4--,and now1 in the
 outset1 it will be well to face that   
objection which we put aside a little   
while ago2 namely1 that perhaps it is   
not well to have a great deal of good   
art2 and that it should not be made too 
cheap4  ,nay1 ,i can imagine some of the
 more generous among you exclaiming1 we 
will not trouble you to disprove that   
objection2 of course it is a selfish and
 base one3 good art1 as well as other   
good things1 ought to be made as cheap  
as possible1 and put as far as we can   
within the reach of everybody4   #fc4   
,pardon me1 ,i am not prepared to admit 
that4 ,i rather side with the selfish   
objectors1 and believe that art ought   
not to be made cheap1 beyond a certain  
point2 for the amount of pleasure that  

you can receive from any great work1    
depends wholly on the quantity of       
attention and energy of mind you can    
bring to bear upon it4 ,now1 that       
attention and energy depend much more on
 the freshness of the thing than you    
would at all suppose2 unless you very   
carefully studied the movements of your 
own minds4 ,if you see things of the    
same kind and of equal value very       
frequently1 your reverence for them is  
infallibly diminished1 your powers of   
attention get gradually wearied1 and    
your interest and enthusiasm worn out2  
and you cannot in that state bring to   
any given work the energy necessary to  
enjoy it4 ,if1 indeed1 the question were
 only between enjoying a great many     
pictures each a little1 or one picture  
very much1 the sum of enjoyment being in
 each case the same1 you might          
rationally desire to possess rather the 
larger quantity than the small2 both    
because one work of art always in some  
sort illustrates another1 and because   

quantity diminishes the chances of      
destruction4   #fd4 ,but the question is
 not a merely arithmetical one of this  
kind4 ,your fragments of broken         
admirations will not1 when they are put 
together1 make up one whole admiration2 
two and two1 in this case1 do not make  
four1 nor anything like four4 ,your good
 picture1 or book1 or work of art of any
 kind1 is always in some degree fenced  
and closed about with difficulty4 ,you  
may think of it as of a kind of         
cocoanut1 with very often rather an     
unseemly shell1 but good milk and kernel
 inside4 ,now1 if you possess twenty    
cocoanuts1 and being thirsty1 go        
impatiently from one to the other1      
giving only a single scratch with the   
point of your knife to the shell of     
each1 you will get no milk from all the 
twenty4 ,but if you leave nineteen of   
them alone1 and give twenty cuts to the 
shell of one1 you will get through it1  
and at the milk of it4 ,and the tendency
 of the human mind is always to get     

tired before it has made its twenty     
cuts2 and to try another nut3 and       
moreover1 even if it has perseverance   
enough to crack its nuts1 it is sure to 
try to eat too many1 and to choke       
itself4 ,hence1 it is wisely appointed  
for us that few of the things we desire 
can be had without considerable labour1 
and at considerable intervals of time4  
,we cannot generally get our dinner     
without working for it1 and that gives  
us appetite for it1 we cannot get our   
holiday without waiting for it1 and that
 gives us zest for it2 and we ought not 
to get our picture without paying for   
it1 and that gives us a mind to look at 
it4   #fe4 ,nay1 ,i will even go so far 
as to say that we ought not to get books
 too cheaply4 ,no book1 ,i believe1 is  
ever worth half so much to its reader as
 one that has been coveted for a year at
 a bookstall1 and bought out of saved   
halfpence2 and perhaps a day or two's   
fasting4 ,that's the way to get at the  
cream of a book4 ,and ,i should say more

 on this matter1 and protest as         
energetically as ,i could against the   
plague of cheap literature1 with which  
we are just now afflicted1 but that ,i  
fear your calling me to order1 as being 
unpractical1 because ,i don't quite see 
my way at present to making everybody   
fast for their books4 ,but one may see  
that a thing is desirable and possible1 
even though one may not at once know the
 best way to it1--and in my island of   
,barataria1 when ,i get it well into    
order1 ,i assure you no book shall be   
sold for less than a pound sterling2 if 
it can be published cheaper than that1  
the surplus shall all go into my        
treasury1 and save my subjects taxation 
in other directions2 only people really 
poor1 who cannot pay the pound1 shall be
 supplied with the books they want for  
nothing1 in a certain limited quantity4 
,i haven't made up my mind about the    
number yet1 and there are several other 
points in the system yet unsettled2 when
 they are all determined1 if you will   

allow me1 ,i will come and give you     
another lecture1 on the political       
economy of literature4#aj  ,note #aj3   
,see note #fth1 in ,addenda4   #ff4     
,meantime1 returning to our immediate   
subject1 ,i say to my generous hearers1 
who want to shower ,titians and ,turners
 upon us1 like falling leaves1 ,pictures
 ought not to be too cheap2 but in much 
stronger tone ,i would say to those who 
want to keep up the prices of pictorial 
property1 that pictures ought not to be 
too dear--that is to say1 not as dear as
 they are4 ,for1 as matters at present  
stand1 it is wholly impossible for any  
man in the ordinary circumstances of    
,english life to possess himself of a   
piece of great art4 ,a modern drawing of
 average merit1 or a first-class        
engraving1 may1 perhaps1 not without    
some self-reproach1 be purchased out of 
his savings by a man of narrow income2  
but a satisfactory example of first-rate
 art--masterhands' work--is wholly out  
of his reach4 ,and we are so accustomed 

to look upon this as the natural course 
and necessity of things1 that we never  
set ourselves in any wise to diminish   
the evil2 and yet it is an evil         
perfectly capable of diminution4   #fg4 
,it is an evil precisely similar in kind
 to that which existed in the ,middle   
,ages1 respecting good books1 and which 
everybody then1 ,i suppose1 thought as  
natural as we do now our small supply of
 good pictures4 ,you could not then     
study the work of a great historian1 or 
great poet1 any more than you can now   
study that of a great painter1 but at   
heavy cost4 ,if you wanted a book1 you  
had to get it written out for you1 or to
 write it out for yourself4 ,but        
printing came1 and the poor man may read
 his ,dante and his ,homer2 and ,dante  
and ,homer are none the worse for that4 
,but it is only in literature that      
private persons of moderate fortune can 
possess and study greatness3 they can   
study at home no greatness in art2 and  
the object of that accumulation which we

 are at present aiming at1 as our third 
object in political economy1 is to bring
 great art in some degree within the    
reach of the multitude2 and1 both in    
larger and more numerous galleries than 
we now possess1 and by distribution1    
according to his wealth and wish1 in    
each man's home1 to render the influence
 of art somewhat correspondent in extent
 to that of literature4 ,here1 then1 is 
the subtle balance which your economist 
has to strike3 to accumulate so much art
 as to be able to give the whole nation 
a supply of it1 according to its need1  
and yet to regulate its distribution so 
that there shall be no glut of it1 nor  
contempt4   #fh4 ,a difficult balance1  
indeed1 for us to hold1 if it were left 
merely to our skill to poise2 but the   
just point between poverty and profusion
 has been fixed for us accurately by the
 wise laws of ,providence4 ,if you      
carefully watch for all the genius you  
can detect1 apply it to good service1   
and then reverently preserve what it    

produces1 you will never have too little
 art2 and if1 on the other hand1 you    
never force an artist to work hurriedly1
 for daily bread1 nor imperfectly1      
because you would rather have showy     
works than complete ones1 you will never
 have too much4 ,do not force the       
multiplication of art1 and you will not 
have it too cheap2 do not wantonly      
destroy it1 and you will not have it too
 dear4   #fi4 ,but who wantonly destroys
 it8 you will ask4 ,why1 we all do4     
,perhaps you thought1 when ,i came to   
this part of our subject1 corresponding 
to that set forth in our housewife's    
economy by the keeping her embroidery   
from the moth1 that ,i was going to tell
 you only how to take better care of    
pictures1 how to clean them1 and varnish
 them1 and where to put them away safely
 when you went out of town4 ,ah1 not at 
all4 ,the utmost ,i have to ask of you  
is1 that you will not pull them to      
pieces1 and trample them under your     
feet4 ,what6 you will say1 when do we do

 such things8 ,haven't we built a       
perfectly beautiful gallery for all the 
pictures we have to take care of8 ,yes1 
you have1 for the pictures which are    
definitely sent to ,manchester to be    
taken care of4 ,but there are quantities
 of pictures out of ,manchester which it
 is your business1 and mine too1 to take
 care of no less than of these1 and     
which we are at this moment employing   
ourselves in pulling to pieces by       
deputy4 ,i will tell you what they are1 
and where they are1 in a minute2 only   
first let me state one more of those    
main principles of political economy on 
which the matter hinges4   #gj4 ,i must 
begin a little apparently wide of the   
mark1 and ask you to reflect if there is
 any way in which we waste money more in
 ,england than in building fine tombs8  
,our respect for the dead1 when they are
 just dead1 is something wonderful1 and 
the way we show it more wonderful still4
 ,we show it with black feathers and    
black horses2 we show it with black     

dresses and bright heraldries2 we show  
it with costly obelisks and sculptures  
of sorrow1 which spoil half of our most 
beautiful cathedrals4 ,we show it with  
frightful gratings and vaults1 and lids 
of dismal stone1 in the midst of the    
quiet grass2 and last1 and not least1 we
 show it by permitting ourselves to tell
 any number of lies we think amiable or 
credible1 in the epitaph4 ,this feeling 
is common to the poor as well as the    
rich2 and we all know how many a poor   
family will nearly ruin themselves1 to  
testify their respect for some member of
 it in his coffin1 whom they never much 
cared for when he was out of it2 and how
 often it happens that a poor old woman 
will starve herself to death1 in order  
that she may be respectably buried4     
#ga4 ,now1 this being one of the most   
complete and special ways of wasting    
money1--no money being less productive  
of good1 or of any percentage whatever1 
than that which we shake away from the  
ends of undertakers' plumes1--it is of  

course the duty of all good economists1 
and kind persons1 to prove and proclaim 
continually1 to the poor as well as the 
rich1 that respect for the dead is not  
really shown by laying great stones on  
them to tell us where they are laid2 but
 by remembering where they are laid1    
without a stone to help us2 trusting    
them to the sacred grass and saddened   
flowers2 and still more1 that respect   
and love are shown to them1 not by great
 monuments to them which we build with  
our hands1 but by letting the monuments 
stand1 which they built with their own4 
,and this is the point now in question4 
#gb4 ,observe1 there are two great      
reciprocal duties concerning industry1  
constantly to be exchanged between the  
living and the dead4 ,we1 as we live and
 work1 are to be always thinking of     
those who are to come after us2 that    
what we do may be serviceable1 as far as
 we can make it so1 to them1 as well as 
to us4 ,then1 when we die1 it is the    
duty of those who come after us to      

accept this work of ours with thanks and
 remembrance1 not thrusting it aside or 
tearing it down the moment they think   
they have no use for it4 ,and each      
generation will only be happy or        
powerful to the pitch that it ought to  
be1 in fulfilling these two duties to   
the ,past and the ,future4 ,its own work
 will never be rightly done1 even for   
itself--never good1 or noble1 or        
pleasurable to its own eyes--if it does 
not prepare it also for the eyes of     
generations yet to come4 ,and its own   
possessions will never be enough for it1
 and its own wisdom never enough for it1
 unless it avails itself gratefully and 
tenderly of the treasures and the wisdom
 bequeathed to it by its ancestors4     
#gc4 ,for1 be assured1 that all the best
 things and treasures of this world are 
not to be produced by each generation   
for itself2 but we are all intended1 not
 to carve our work in snow that will    
melt1 but each and all of us to be      
continually rolling a great white       

gathering snowball1 higher and          
higher--larger and larger--along the    
,alps of human power4 ,thus the science 
of nations is to be accumulative from   
father to son3 each learning a little   
more and a little more2 each receiving  
all that was known1 and adding its own  
gain3 the history and poetry of nations 
are to be accumulative2 each generation 
treasuring the history and the songs of 
its ancestors1 adding its own history   
and its own songs3 and the art of       
nations is to be accumulative1 just as  
science and history are2 the work of    
living men is not superseding1 but      
building itself upon the work of the    
past4 ,nearly every great and           
intellectual race of the world has      
produced1 at every period of its career1
 an art with some peculiar and precious 
character about it1 wholly unattainable 
by any other race1 and at any other     
time2 and the intention of ,providence  
concerning that art1 is evidently that  
it should all grow together into one    

mighty temple2 the rough stones and the 
smooth all finding their place1 and     
rising1 day by day1 in richer and higher
 pinnacles to heaven4   #gd4 ,now1 just 
fancy what a position the world1        
considered as one great workroom--one   
great factory in the form of a          
globe--would have been in by this time1 
if it had in the least understood this  
duty1 or been capable of it4 ,fancy what
 we should have had around us now1 if1  
instead of quarrelling and fighting over
 their work1 the nations had aided each 
other in their work1 or if even in their
 conquests1 instead of effacing the     
memorials of those they succeeded and   
subdued1 they had guarded the spoils of 
their victories4 ,fancy what ,europe    
would be now1 if the delicate statues   
and temples of the ,greeks--if the broad
 roads and massy walls of the           
,romans--if the noble and pathetic      
architecture of the middle ages1 had not
 been ground to dust by mere human rage4
 ,you talk of the scythe of ,time1 and  

the tooth of ,time3 ,i tell you1 ,time  
is scytheless and toothless2 it is we   
who gnaw like the worm--we who smite    
like the scythe4 ,it is ourselves who   
abolish--ourselves who consume3 we are  
the mildew1 and the flame2 and the soul 
of man is to its own work as the moth   
that frets when it cannot fly1 and as   
the hidden flame that blasts where it   
cannot illuminate4 ,all these lost      
treasures of human intellect have been  
wholly destroyed by human industry of   
destruction2 the marble would have stood
 its two thousand years as well in the  
polished statue as in the ,parian cliff2
 but we men have ground it to powder1   
and mixed it with our own ashes4 ,the   
walls and the ways would have stood--it 
is we who have left not one stone upon  
another1 and restored its pathlessness  
to the desert2 the great cathedrals of  
old religion would have stood--it is we 
who have dashed down the carved work    
with axes and hammers1 and bid the      
mountain-grass bloom upon the pavement1 

and the sea-winds chant in the          
galleries4   #ge4 ,you will perhaps     
think all this was somehow necessary for
 the development of the human race4 ,i  
cannot stay now to dispute that1 though 
,i would willingly2 but do you think it 
is still necessary for that development8
 ,do you think that in this nineteenth  
century it is still necessary for the   
,european nations to turn all the places
 where their principal art-treasures are
 into battle-fields8 ,for that is what  
they are doing even while ,i speak2 the 
great firm of the world is managing its 
business at this moment1 just as it has 
done in past time4 ,imagine what would  
be the thriving circumstances of a      
manufacturer of some delicate           
produce--suppose glass1 or china--in    
whose workshop and exhibition rooms all 
the workmen and clerks began fighting at
 least once a day1 first blowing off the
 steam1 and breaking all the machinery  
they could reach2 and then making       
fortresses of all the cupboards1 and    

attacking and defending the show-tables1
 the victorious party finally throwing  
everything they could get hold of out of
 the window1 by way of showing their    
triumph1 and the poor manufacturer      
picking up and putting away at last a   
cup here and a handle there4 ,a fine    
prosperous business that would be1 would
 it not8 and yet that is precisely the  
way the great manufacturing firm of the 
world carries on its business4   #gf4   
,it has so arranged its political       
squabbles for the last six or seven     
hundred years1 that not one of them     
could be fought out but in the midst of 
its most precious art2 and it so        
arranges them to this day4 ,for example1
 if ,i were asked to lay my finger1 in a
 map of the world1 on the spot of the   
world's surface which contained at this 
moment the most singular concentration  
of art-teaching and art-treasure1 ,i    
should lay it on the name of the town of
 ,verona4 ,other cities1 indeed1 contain
 more works of carriageable art1 but    

none contain so much of the glorious    
local art1 and of the springs and       
sources of art1 which can by no means be
 made subjects of package or porterage1 
nor1 ,i grieve to say1 of salvage4      
,verona possesses1 in the first place1  
not the largest1 but the most perfect   
and intelligible ,roman amphitheatre    
that exists1 still unbroken in circle of
 step1 and strong in succession of vault
 and arch3 it contains minor ,roman     
monuments1 gateways1 theatres1 baths1   
wrecks of temples1 which give the       
streets of its suburbs a character of   
antiquity unexampled elsewhere1 except  
in ,rome itself4 ,but it contains1 in   
the next place1 what ,rome does not     
contain--perfect examples of the great  
twelfth-century ,lombardic architecture1
 which was the root of all the medival  
art of ,italy1 without which no         
,giottos1 no ,angelicos1 no ,raphaels   
would have been possible3 it contains   
that architecture1 not in rude forms1   
but in the most perfect and loveliest   

types it ever attained--contains those1 
not in ruins1 nor in altered and hardly 
decipherable fragments1 but in churches 
perfect from porch to apse1 with all    
their carving fresh1 their pillars firm1
 their joints unloosened4 ,besides      
these1 it includes examples of the great
 thirteenth and fourteenth-century      
,gothic of ,italy1 not merely perfect1  
but elsewhere unrivalled4 ,at ,rome1 the
 ,roman--at ,pisa1 the                  
,lombard--architecture may be seen in   
greater or in equal nobleness2 but not  
at ,rome1 nor ,pisa1 nor ,florence1 nor 
in any city of the world1 is there a    
great medival ,gothic like the ,gothic  
of ,verona4 ,elsewhere1 it is either    
less pure in type or less lovely in     
completion3 only at ,verona may you see 
it in the simplicity of its youthful    
power1 and the tenderness of its        
accomplished beauty4 ,and ,verona       
possesses1 in the last place1 the       
loveliest ,renaissance architecture of  
,italy1 not disturbed by pride1 nor     

defiled by luxury1 but rising in fair   
fulfilment of domestic service1 serenity
 of effortless grace1 and modesty of    
home seclusion2 its richest work given  
to the windows that open on the         
narrowest streets and most silent       
gardens4 ,all this she possesses1 in the
 midst of natural scenery such as       
assuredly exists nowhere else in the    
habitable globe--a wild ,alpine river   
foaming at her feet1 from whose shore   
the rocks rise in a great crescent1 dark
 with cypress1 and misty with olive3    
illimitably1 from before her southern   
gates1 the tufted plains of ,italy sweep
 and fade in golden light2 around her1  
north and west1 the ,alps crowd in      
crested troops1 and the winds of        
,benacus bear to her the coolness of    
their snows4   #gg4 ,and this is the    
city--such1 and possessing such things  
as these--at whose gates the decisive   
battles of ,italy are fought            
continually3 three days her towers      
trembled with the echo of the cannon of 

,arcola2 heaped pebbles of the ,mincio  
divide her fields to this hour with     
lines of broken rampart1 whence the tide
 of war rolled back to ,novara2 and now 
on that crescent of her eastern cliffs1 
whence the full moon used to rise       
through the bars of the cypresses in her
 burning summer twilights1 touching with
 soft increase of silver light the rosy 
marbles of her balconies1--along the    
ridge of that encompassing rock1 other  
circles are increasing now1 white and   
pale2 walled towers of cruel strength1  
sable-spotted with cannon-courses4 ,i   
tell you1 ,i have seen1 when the        
thunderclouds came down on those        
,italian hills1 and all their crags were
 dipped in the dark1 terrible purple1 as
 if the winepress of the wrath of ,god  
had stained their mountain-raiment--,i  
have seen the hail fall in ,italy till  
the forest branches stood stripped and  
bare as if blasted by the locust2 but   
the white hail never fell from those    
clouds of heaven as the black hail will 

fall from the clouds of hell1 if ever   
one breath of ,italian life stirs again 
in the streets of ,verona4   #gh4 ,sad  
as you will feel this to be1 ,i do not  
say that you can directly prevent it2   
you cannot drive the ,austrians out of  
,italy1 nor prevent them from building  
forts where they choose4 ,but ,i do     
say1#aa that you1 and ,i1 and all of us1
 ought to be both acting and feeling    
with a full knowledge and understanding 
of these things2 and that1 without      
trying to excite revolutions or weaken  
governments1 we may give our own        
thoughts and help1 so as in a measure to
 prevent needless destruction4 ,we      
should do this1 if we only realized the 
thing thoroughly4 ,you drive out day by 
day through your own pretty suburbs1 and
 you think only of making1 with what    
money you have to spare1 your gateways  
handsomer1 and your carriage-drives     
wider--and your drawing-rooms more      
splendid1 having a vague notion that you
 are all the while patronizing and      

advancing art2 and you make no effort to
 conceive the fact that1 within a few   
hours' journey of you1 there are        
gateways and drawing-rooms which might  
just as well be yours as these1 all     
built already2 gateways built by the    
greatest masters of sculpture that ever 
struck marble2 drawing-rooms1 painted by
 ,titian and ,veronese2 and you won't   
accept nor save these as they are1 but  
you will rather fetch the house-painter 
from over the way1 and let ,titian and  
,veronese house the rats4  ,note #aa3   
,the reader can hardly but remember     
,mrs4 ,browning's beautiful appeal for  
,italy1 made on the occasion of the     
first great ,exhibition of ,art in      
,england3--      ,magi of the east and  
of the west1     ,your incense1 gold1   
and myrrh are excellent6--     ,what    
gifts for ,christ1 then1 bring ye with  
the rest8     ,your hands have worked   
well4 ,is your courage spent     ,in    
handwork only8 ,have you nothing best1  
,which generous souls may perfect and   

present1     ,and ,he shall thank the   
givers for8 no light     ,of teaching1  
liberal nations1 for the poor1     ,who 
sit in darkness when it is not night8   
,no cure for wicked children8           
,christ1--no cure1     ,no help for     
women1 sobbing out of sight     ,because
 men made the laws8 no brothel-lure     
,burnt out by popular lightnings8 ,hast 
thou found     ,no remedy1 my ,england1 
for such woes8     ,no outlet1 ,austria1
 for the scourged and bound1     ,no    
call back for the exiled8 no repose1    
,russia for knouted ,poles worked       
underground1     ,and gentle ladies     
bleached among the snows8     ,no mercy 
for the slave1 ,america8     ,no hope   
for ,rome1 free ,france1 chivalric      
,france8     ,alas1 great nations have  
great shames1 ,i say4     ,no pity1 ,o  
world1 no tender utterance     ,of      
benediction1 and prayers stretched this 
way     ,for poor ,italia1 baffled by   
mischance8     ,o gracious nations1 give
 some ear to me6     ,you all go to your

 ,fair1 and ,i am one     ,who at the   
roadside of humanity     ,beseech your  
alms1--,god's justice to be done4       
,so1 prosper6     #gi4 ,yes1 of course1 
you answer2 we want nice houses here1   
not houses in ,verona4 ,what should we  
do with houses in ,verona8 ,and ,i      
answer1 do precisely what you do with   
the most expensive part of your         
possessions here3 take pride in         
them--only a noble pride4 ,you know     
well1 when you examine your own hearts1 
that the greater part of the sums you   
spend on possessions is spent for pride4
 ,why are your carriages nicely painted 
and finished outside8 ,you don't see the
 outsides as you sit in them--the       
outsides are for other people to see4   
,why are your exteriors of houses so    
well finished1 your furniture so        
polished and costly1 but for other      
people to see8 ,you are just as         
comfortable yourselves1 writing on your 
old friend of a desk1 with the white    
cloudings in his leather1 and using the 

light of a window which is nothing but a
 hole in the brick wall4 ,and all that  
is desirable to be done in this matter  
is merely to take pride in preserving   
great art1 instead of in producing mean 
art2 pride in the possession of precious
 and enduring things1 a little way off1 
instead of slight and perishing things  
near at hand4 ,you know1 in old ,english
 times1 our kings liked to have         
lordships and dukedoms abroad3 and why  
should not your merchant princes like to
 have lordships and estates abroad8     
,believe me1 rightly understood1 it     
would be a prouder1 and in the full     
sense of our ,english word1 more        
respectable thing to be lord of a palace
 at ,verona1 or of a cloister full of   
frescoes at ,florence1 than to have a   
file of servants dressed in the finest  
liveries that ever tailor stitched1 as  
long as would reach from here to        
,bolton3--yes1 and a prouder thing to   
send people to travel in ,italy1 who    
would have to say every now and then1 of

 some fair piece of art1 ,ah6 this was  
kept here for us by the good people of  
,manchester1 than to bring them         
travelling all the way here1 exclaiming 
of your various art treasures1 ,these   
were brought here for us1 7not          
altogether without harm7 by the good    
people of ,manchester4   #hj4 ,ah6 but  
you say1 the ,art ,treasures ,exhibition
 will pay2 but ,veronese palaces won't4 
,pardon me4 ,they would pay1 less       
directly1 but far more richly4 ,do you  
suppose it is in the long run good for  
,manchester1 or good for ,england1 that 
the ,continent should be in the state it
 is8 ,do you think the perpetual fear of
 revolution1 or the perpetual repression
 of thought and energy that clouds and  
encumbers the nations of ,europe1 is    
eventually profitable for us8 ,were we  
any the better of the course of affairs 
in '#dh8 or has the stabling of the     
dragoon horses in the great houses of   
,italy any distinct effect in the       
promotion of the cotton-trade8 ,not so4 

,but every stake that you could hold in 
the stability of the ,continent1 and    
every effort that you could make to give
 example of ,english habits and         
principles on the ,continent1 and every 
kind deed that you could do in relieving
 distress and preventing despair on the 
,continent1 would have tenfold reaction 
on the prosperity of ,england1 and open 
and urge1 in a thousand unforeseen      
directions1 the sluices of commerce and 
the springs of industry4   #ha4 ,i could
 press1 if ,i chose1 both these motives 
upon you1 of pride and self-interest1   
with more force1 but these are not      
motives which ought to be urged upon you
 at all4 ,the only motive that ,i ought 
to put before you is simply that it     
would be right to do this2 that the     
holding of property abroad1 and the     
personal efforts of ,englishmen to      
redeem the condition of foreign nations1
 are among the most direct pieces of    
duty which our wealth renders incumbent 
upon us4 ,i do not--and in all truth and

 deliberateness ,i say this--,i do not  
know anything more ludicrous among the  
self-deceptions of well-meaning people  
than their notion of patriotism1 as     
requiring them to limit their efforts to
 the good of their own country2--the    
notion that charity is a geographical   
virtue1 and that what it is holy and    
righteous to do for people on one bank  
of a river1 it is quite improper and    
unnatural to do for people on the other4
 ,it will be a wonderful thing1 some day
 or other1 for the ,christian world to  
remember1 that it went on thinking for  
two thousand years that neighbours were 
neighbours at ,jerusalem1 but not at    
,jericho2 a wonderful thing for us      
,english to reflect1 in after-years1 how
 long it was before we could shake hands
 with anybody across that shallow salt  
wash1 which the very chalk-dust of its  
two shores whitens from ,folkestone to  
,ambleteuse4   #hb4 ,nor ought the      
motive of gratitude1 as well as that of 
mercy1 to be without its influence on   

you1 who have been the first to ask to  
see1 and the first to show to us1 the   
treasures which this poor lost ,italy   
has given to ,england4 ,remember1 all   
these things that delight you here were 
hers--hers either in fact or in         
teaching2 hers1 in fact1 are all the    
most powerful and most touching         
paintings of old time that now glow upon
 your walls2 hers in teaching are all   
the best and greatest of descendant     
souls--your ,reynolds and your          
,gainsborough never could have painted  
but for ,venice2 and the energies which 
have given the only true life to your   
existing art were first stirred by      
voices of the dead that haunted the     
,sacred ,field of ,pisa4  ,well1 all    
these motives for some definite course  
of action on our part towards foreign   
countries rest upon very serious facts2 
too serious1 perhaps you will think1 to 
be interfered with2 for we are all of us
 in the habit of leaving great things   
alone1 as if ,providence would mind     

them1 and attending ourselves only to   
little things which we know1            
practically1 ,providence doesn't mind   
unless we do4 ,we are ready enough to   
give care to the growing of pines and   
lettuces1 knowing that they don't grow  
,providentially sweet or large unless we
 look after them2 but we don't give any 
care to the good of ,italy or ,germany1 
because we think that they will grow    
,providentially happy without any of our
 meddling4   #hc4 ,let us leave the     
great things1 then1 and think of little 
things2 not of the destruction of whole 
provinces in war1 which it may not be   
any business of ours to prevent2 but of 
the destruction of poor little pictures 
in peace1 from which it surely would not
 be much out of our way to save them4   
,you know ,i said1 just now1 we were all
 of us engaged in pulling pictures to   
pieces by deputy1 and you did not       
believe me4 ,consider1 then1 this       
similitude of ourselves4 ,suppose you   
saw 7as ,i doubt not you often do see7 a

 prudent and kind young lady sitting at 
work1 in the corner of a quiet room1    
knitting comforters for her cousins1 and
 that just outside1 in the hall1 you saw
 a cat and her kittens at play among the
 family pictures2 amusing themselves    
especially with the best ,vandykes1 by  
getting on the tops of the frames1 and  
then scrambling down the canvases by    
their claws2 and on some one's informing
 the young lady of these proceedings of 
the cat and kittens1 suppose she        
answered that it wasn't her cat1 but her
 sister's1 and the pictures weren't     
hers1 but her uncle's1 and she couldn't 
leave her work1 for she had to make so  
many pairs of comforters before dinner4 
,would you not say that the prudent and 
kind young lady was1 on the whole1      
answerable for the additional touches of
 claw on the ,vandykes8   #hd4 ,now1    
that is precisely what we prudent and   
kind ,english are doing1 only on a      
larger scale4 ,here we sit in           
,manchester1 hard at work1 very         

properly1 making comforters for our     
cousins all over the world4 ,just       
outside there in the hall--that         
beautiful marble hall of ,italy--the    
cats and kittens and monkeys are at play
 among the pictures3 ,i assure you1 in  
the course of the fifteen years in which
 ,i have been working in those places in
 which the most precious remnants of    
,european art exist1 a sensation1       
whether ,i would or no1 was gradually   
made distinct and deep in my mind1 that 
,i was living and working in the midst  
of a den of monkeys2--sometimes amiable 
and affectionate monkeys1 with all      
manner of winning ways and kind         
intentions1--more frequently selfish and
 malicious monkeys2 but1 whatever their 
disposition1 squabbling continually     
about nuts1 and the best places on the  
barren sticks of trees2 and that all    
this monkeys' den was filled1 by        
mischance1 with precious pictures1 and  
the witty and wilful beasts were always 
wrapping themselves up and going to     

sleep in pictures1 or tearing holes in  
them to grin through2 or tasting them   
and spitting them out again1 or twisting
 them up into ropes and making swings of
 them2 and that sometimes only1 by      
watching one's opportunity1 and bearing 
a scratch or a bite1 one could rescue   
the corner of a ,tintoret1 or ,paul     
,veronese1 and push it through the bars 
into a place of safety4   #he4          
,literally1 ,i assure you1 this was1 and
 this is1 the fixed impression on my    
mind of the state of matters in ,italy4 
,and see how4 ,the professors of art in 
,italy1 having long followed a method of
 study peculiar to themselves1 have at  
last arrived at a form of art peculiar  
to themselves2 very different from that 
which was arrived at by ,correggio and  
,titian4 ,naturally1 the professors like
 their own form the best2 and1 as the   
old pictures are generally not so       
startling to the eye as the modern ones1
 the dukes and counts who possess them1 
and who like to see their galleries look

 new and fine 7and are persuaded also   
that a celebrated chef-d'oeuvre ought   
always to catch the eye at a quarter of 
a mile off71 believe the professors who 
tell them their sober pictures are quite
 faded1 and good for nothing1 and should
 all be brought bright again2 and1      
accordingly1 give the sober pictures to 
the professors1 to be put right by rules
 of art4 ,then1 the professors repaint  
the old pictures in all the principal   
places1 leaving perhaps only a bit of   
background to set off their own work4   
,and thus the professors come to be     
generally figured1 in my mind1 as the   
monkeys who tear holes in the pictures1 
to grin through4 ,then the              
picture-dealers1 who live by the        
pictures1 cannot sell them to the       
,english in their old and pure state2   
all the good work must be covered with  
new paint1 and varnished so as to look  
like one of the professorial pictures in
 the great gallery1 before it is        
saleable4 ,and thus the dealers come to 

be imaged1 in my mind1 as the monkeys   
who make ropes of the pictures1 to swing
 by4 ,then1 every now and then at some  
old stable1 or wine-cellar1 or          
timber-shed1 behind some forgotten vats 
or faggots1 somebody finds a fresco of  
,perugino's or ,giotto's1 but doesn't   
think much of it1 and has no idea of    
having people coming into his cellar1 or
 being obliged to move his faggots2 and 
so he whitewashes the fresco1 and puts  
the faggots back again2 and these kind  
of persons1 therefore1 come generally to
 be imaged1 in my mind1 as the monkeys  
who taste the pictures1 and spit them   
out1 not finding them nice4 ,while1     
finally1 the squabbling for nuts and    
apples 7called in ,italy bella libert7  
goes on all day long4   #hf4 ,now1 all  
this might soon be put an end to1 if we 
,english1 who are so fond of travelling 
in the body1 would also travel a little 
in soul6 ,we think it a great triumph to
 get our packages and our persons       
carried at a fast pace1 but we never    

take the slightest trouble to put any   
pace into our perceptions2 we stay      
usually at home in thought1 or if we    
ever mentally see the world1 it is at   
the old stage-coach or waggon rate4 ,do 
but consider what an odd sight it would 
be1 if it were only quite clear to you  
how things are really going on--how1    
here in ,england1 we are making enormous
 and expensive efforts to produce new   
art of all kinds1 knowing and confessing
 all the while that the greater part of 
it is bad1 but struggling still to      
produce new patterns of wall-papers1 and
 new shapes of teapots1 and new         
pictures1 and statues1 and architecture2
 and pluming and cackling if ever a     
teapot or a picture has the least good  
in it2--all the while taking no thought 
whatever of the best possible pictures1 
and statues1 and wall-patterns already  
in existence1 which require nothing but 
to be taken common care of1 and kept    
from damp and dust3 but we let the walls
 fall that ,giotto patterned1 and the   

canvases rot that ,tintoret painted1 and
 the architecture be dashed to pieces   
that ,st4 ,louis built1 while we are    
furnishing our drawing-rooms with prize 
upholstery1 and writing accounts of our 
handsome warehouses to the country      
papers4 ,don't think ,i use my words    
vaguely or generally3 ,i speak of       
literal facts4 ,giotto's frescoes at    
,assisi are perishing at this moment for
 want of decent care2 ,tintoret's       
pictures in ,san ,sebastian1 at ,venice1
 are at this instant rotting piecemeal  
into grey rags2 ,st4 ,louis's chapel1 at
 ,carcassonne1 is at this moment lying  
in shattered fragments in the           
market-place4 ,and here we are all      
cawing and crowing1 poor little         
half-fledged daws as we are1 about the  
pretty sticks and wool in our own nests4
 ,there's hardly a day passes1 when ,i  
am at home1 but ,i get a letter from    
some well-meaning country clergyman1    
deeply anxious about the state of his   
parish church1 and breaking his heart to

 get money together that he may hold up 
some wretched remnant of ,tudor tracery1
 with one niche in the corner and no    
statue--when all the while the mightiest
 piles of religious architecture and    
sculpture that ever the world saw are   
being blasted and withered away1 without
 one glance of pity or regret4 ,the     
country clergyman does not care for     
them--he has a sea-sick imagination that
 cannot cross channel4 ,what is it to   
him1 if the angels of ,assisi fade from 
its vaults1 or the queens and kings of  
,chartres fall from their pedestals8    
,they are not in his parish4   #hg4     
,what6 you will say1 are we not to      
produce any new art1 nor take care of   
our parish churches8 ,no1 certainly not1
 until you have taken proper care of the
 art you have got already1 and of the   
best churches out of the parish4 ,your  
first and proper standing is not as     
churchwardens and parish overseers1 in  
an ,english county1 but as members of   
the great ,christian community of       

,europe4 ,and as members of that        
community 7in which alone1 observe1 pure
 and precious ancient art exists1 for   
there is none in ,america1 none in      
,asia1 none in ,africa71 you conduct    
yourselves precisely as a manufacturer  
would1 who attended to his looms1 but   
left his warehouse without a roof4 ,the 
rain floods your warehouse1 the rats    
frolic in it1 the spiders spin in it1   
the choughs build in it1 the wall-plague
 frets and festers in it2 and still you 
keep weave1 weave1 weaving at your      
wretched webs1 and thinking you are     
growing rich1 while more is gnawed out  
of your warehouse in an hour than you   
can weave in a twelvemonth4   #hh4 ,even
 this similitude is not absurd enough to
 set us rightly forth4 ,the weaver      
would1 or might1 at least1 hope that his
 new woof was as stout as the old ones1 
and that1 therefore1 in spite of rain   
and ravage1 he would have something to  
wrap himself in when he needed it4 ,but 
our webs rot as we spin4 ,the very fact 

that we despise the great art of the    
past shows that we cannot produce great 
art now4 ,if we could do it1 we should  
love it when we saw it done--if we      
really cared for it1 we should recognize
 it and keep it2 but we don't care for  
it4 ,it is not art that we want2 it is  
amusement1 gratification of pride1      
present gain--anything in the world but 
art3 let it rot1 we shall always have   
enough to talk about and hang over our  
sideboards4   #hi4 ,you will 7,i hope7  
finally ask me what is the outcome of   
all this1 practicable tomorrow morning  
by us who are sitting here8 ,these are  
the main practical outcomes of it3 ,in  
the first place1 don't grumble when you 
hear of a new picture being bought by   
,government at a large price4 ,there are
 many pictures in ,europe now in danger 
of destruction which are1 in the true   
sense of the word1 priceless2 the proper
 price is simply that which it is       
necessary to give to get and to save    
them4 ,if you can get them for fifty    

pounds1 do2 if not for less than a      
hundred1 do2 if not for less than five  
thousand1 do2 if not for less than      
twenty thousand1 do2 never mind being   
imposed upon3 there is nothing          
disgraceful in being imposed upon2 the  
only disgrace is in imposing2 and you   
can't in general get anything much worth
 having1 in the way of ,continental art1
 but it must be with the help or        
connivance of numbers of people who1    
indeed1 ought to have nothing to do with
 the matter1 but who practically have1  
and always will have1 everything to do  
with it2 and if you don't choose to     
submit to be cheated by them out of a   
ducat here and a zecchin there1 you will
 be cheated by them out of your picture2
 and whether you are most imposed upon  
in losing that1 or the zecchins1 ,i     
think ,i may leave you to judge2 though 
,i know there are many political        
economists1 who would rather leave a bag
 of gold on a garret-table1 than give a 
porter sixpence extra to carry it       

downstairs4  ,that1 then1 is the first  
practical outcome of the matter4 ,never 
grumble1 but be glad when you hear of a 
new picture being bought at a large     
price4 ,in the long run1 the dearest    
pictures are always the best bargains2  
and1 ,i repeat1 7for else you might     
think ,i said it in mere hurry of talk1 
and not deliberately17 there are some   
pictures which are without price4 ,you  
should stand1 nationally1 at the edge of
 ,dover cliffs--,shakespeare's--and wave
 blank cheques in the eyes of the       
nations on the other side of the sea1   
freely offered1 for such and such       
canvases of theirs4   #ij4 ,then the    
next practical outcome of it is--,never 
buy a copy of a picture1 under any      
circumstances whatever4 ,all copies are 
bad2 because no painter who is worth a  
straw ever will copy4 ,he will make a   
study of a picture he likes1 for his own
 use1 in his own way2 but he won't and  
can't copy4 ,whenever you buy a copy1   
you buy so much misunderstanding of the 

original1 and encourage a dull person in
 following a business he is not fit for1
 besides increasing ultimately chances  
of mistake and imposture1 and           
farthering1 as directly as money can    
farther1 the cause of ignorance in all  
directions4 ,you may1 in fact1 consider 
yourself as having purchased a certain  
quantity of mistakes2 and1 according to 
your power1 being engaged in            
disseminating them4   #ia4 ,i do not    
mean1 however1 that copies should never 
be made4 ,a certain number of dull      
persons should always be employed by a  
,government in making the most accurate 
copies possible of all good pictures2   
these copies1 though artistically       
valueless1 would be historically and    
documentarily valuable1 in the event of 
the destruction of the original picture4
 ,the studies also made by great artists
 for their own use1 should be sought    
after with the greatest eagerness2 they 
are often to be bought cheap2 and in    
connection with the mechanical copies1  

would become very precious3 tracings    
from frescoes and other large works are 
also of great value2 for though a       
tracing is liable to just as many       
mistakes as a copy1 the mistakes in a   
tracing are of one kind only1 which may 
be allowed for1 but the mistakes of a   
common copyist are of all conceivable   
kinds3 finally1 engravings1 in so far as
 they convey certain facts about the    
pictures1 without pretending adequately 
to represent or give an idea of the     
pictures1 are often serviceable and     
valuable4 ,i can't1 of course1 enter    
into details in these matters just now2 
only this main piece of advice ,i can   
safely give you--never to buy copies of 
pictures 7for your private possession7  
which pretend to give a facsimile that  
shall be in any wise representative of1 
or equal to1 the original4 ,whenever you
 do so1 you are only lowering your      
taste1 and wasting your money4 ,and if  
you are generous and wise1 you will be  
ready rather to subscribe as much as you

 would have given for a copy of a great 
picture towards its purchase1 or the    
purchase of some other like it1 by the  
nation4 ,there ought to be a great      
,national ,society instituted for the   
purchase of pictures2 presenting them to
 the various galleries in our great     
cities1 and watching there over their   
safety3 but in the meantime1 you can    
always act safely and beneficially by   
merely allowing your artist friends to  
buy pictures for you1 when they see good
 ones4 ,never buy for yourselves1 nor go
 to the foreign dealers2 but let any    
painter whom you know be entrusted1 when
 he finds a neglected old picture in an 
old house1 to try if he cannot get it   
for you2 then1 if you like it1 keep it2 
if not1 send it to the hammer1 and you  
will find that you do not lose money on 
pictures so purchased4   #ib4 ,and the  
third and chief practical outcome of the
 matter is this general one3 ,wherever  
you go1 whatever you do1 act more for   
preservation and less for production4 ,i

 assure you1 the world is1 generally    
speaking1 in calamitous disorder1 and   
just because you have managed to thrust 
some of the lumber aside1 and get an    
available corner for yourselves1 you    
think you should do nothing but sit     
spinning in it all day long--while1 as  
householders and economists1 your first 
thought and effort should be1 to set    
things more square all about you4 ,try  
to set the ground floors in order1 and  
get the rottenness out of your          
granaries4 ,then sit and spin1 but not  
till then4   #ic4 ,,iv4                 
,,distribution4--,and now1 lastly1 we   
come to the fourth great head of our    
inquiry1 the question of the wise       
distribution of the art we have gathered
 and preserved4 ,it must be evident to  
us1 at a moment's thought1 that the way 
in which works of art are on the whole  
most useful to the nation to which they 
belong1 must be by their collection in  
public galleries1 supposing those       
galleries properly managed4 ,but there  

is one disadvantage attached necessarily
 to gallery exhibition--namely1 the     
extent of mischief which may be done by 
one foolish curator4 ,as long as the    
pictures which form the national wealth 
are disposed in private collections1 the
 chance is always that the people who   
buy them will be just the people who are
 fond of them2 and that the sense of    
exchangeable value in the commodity they
 possess1 will induce them1 even if they
 do not esteem it themselves1 to take   
such care of it as will preserve its    
value undiminished4 ,at all events1 so  
long as works of art are scattered      
through the nation1 no universal        
destruction of them is possible2 a      
certain average only are lost by        
accidents from time to time4 ,but when  
they are once collected in a large      
public gallery1 if the appointment of   
curator becomes in any way a matter of  
formality1 or the post is so lucrative  
as to be disputed by place-hunters1 let 
but one foolish or careless person get  

possession of it1 and perhaps you may   
have all your fine pictures repainted1  
and the national property destroyed1 in 
a month4 ,that is actually the case at  
this moment1 in several great foreign   
galleries4 ,they are the places of      
execution of pictures3 over their doors 
you only want the ,dantesque            
inscription1 ,lasciate ogni speranza1   
voi che entrate4   #id4 ,supposing1     
however1 this danger properly guarded   
against1 as it would be always by a     
nation which either knew the value1 or  
understood the meaning1 of painting1#ab 
arrangement in a public gallery is the  
safest1 as well as the most serviceable1
 method of exhibiting pictures2 and it  
is the only mode in which their         
historical value can be brought out1 and
 their historical meaning made clear4   
,but great good is also to be done by   
encouraging the private possession of   
pictures2 partly as a means of study1   
7much more being always discovered in   
any work of art by a person who has it  

perpetually near him than by one who    
only sees it from time to time17 and    
also as a means of refining the habits  
and touching the hearts of the masses of
 the nation in their domestic life4     
,note #ab3 ,it would be a great point   
gained towards the preservation of      
pictures if it were made a rule that at 
every operation they underwent1 the     
exact spots in which they have been     
repainted should be recorded in writing4
   #ie4 ,for these last purposes1 the   
most serviceable art is the living art  
of the time2 the particular tastes of   
the people will be best met1 and their  
particular ignorances best corrected1 by
 painters labouring in the midst of     
them1 more or less guided to the        
knowledge of what is wanted by the      
degree of sympathy with which their work
 is received4 ,so then1 generally1 it   
should be the object of government1 and 
of all patrons of art1 to collect1 as   
far as may be1 the works of dead masters
 in public galleries1 arranging them so 

as to illustrate the history of nations1
 and the progress and influence of their
 arts2 and to encourage the private     
possession of the works of living       
masters4 ,and the first and best way in 
which to encourage such private         
possession is1 of course1 to keep down  
the prices of them as far as you can4   
,i hope there are not a great many      
painters in the room2 if there are1 ,i  
entreat their patience for the next     
quarter of an hour3 if they will bear   
with me for so long1 ,i hope they will  
not1 finally1 be offended by what ,i am 
going to say4   #if4 ,i repeat1 trusting
 to their indulgence in the interim1    
that the first object of our national   
economy1 as respects the distribution of
 modern art1 should be steadily and     
rationally to limit its prices1 since by
 doing so1 you will produce two effects3
 you will make the painters produce more
 pictures1 two or three instead of one1 
if they wish to make money2 and you     
will1 by bringing good pictures within  

the reach of people of moderate income1 
excite the general interest of the      
nation in them1 increase a thousandfold 
the demand for the commodity1 and       
therefore its wholesome and natural     
production4   #ig4 ,i know how many     
objections must arise in your minds at  
this moment to what ,i say2 but you must
 be aware that it is not possible for me
 in an hour to explain all the moral and
 commercial bearings of such a principle
 as this4 ,only1 believe me1 ,i do not  
speak lightly2 ,i think ,i have         
considered all the objections which     
could be rationally brought forward1    
though ,i have time at present only to  
glance at the main one--namely1 the idea
 that the high prices paid for modern   
pictures are either honourable1 or      
serviceable1 to the painter4 ,so far    
from this being so1 ,i believe one of   
the principal obstacles to the progress 
of modern art to be the high prices     
given for good modern pictures4 ,for    
observe first the action of this high   

remuneration on the artist's mind4 ,if  
he gets on1 as it is called1 catches the
 eye of the public1 and especially of   
the public of the upper classes1 there  
is hardly any limit to the fortune he   
may acquire2 so that1 in his early      
years1 his mind is naturally led to     
dwell on this worldly and wealthy       
eminence as the main thing to be reached
 by his art2 if he finds that he is not 
gradually rising towards it1 he thinks  
there is something wrong in his work2   
or1 if he is too proud to think that1   
still the bribe of wealth and honour    
warps him from his honest labour into   
efforts to attract attention2 and he    
gradually loses both his power of mind  
and his rectitude of purpose4 ,this1    
according to the degree of avarice or   
ambition which exists in any painter's  
mind1 is the necessary influence upon   
him of the hope of great wealth and     
reputation4 ,but the harm is still      
greater1 in so far as the possibility of
 attaining fortune of this kind tempts  

people continually to become painters   
who have no real gift for the work2 and 
on whom these motives of mere worldly   
interest have exclusive influence2--men 
who torment and abuse the patient       
workers1 eclipse or thrust aside all    
delicate and good pictures by their own 
gaudy and coarse ones1 corrupt the taste
 of the public1 and do the greatest     
amount of mischief to the schools of art
 in their day which it is possible for  
their capacities to effect2 and it is   
quite wonderful how much mischief may be
 done even by small capacity4 ,if you   
could by any means succeed in keeping   
the prices of pictures down1 you would  
throw all these disturbers out of the   
way at once4   #ih4 ,you may perhaps    
think that this severe treatment would  
do more harm than good1 by withdrawing  
the wholesome element of emulation1 and 
giving no stimulus to exertion2 but ,i  
am sorry to say that artists will always
 be sufficiently jealous of one another1
 whether you pay them large or low      

prices2 and as for stimulus to exertion1
 believe me1 no good work in this world 
was ever done for money1 nor while the  
slightest thought of money affected the 
painter's mind4 ,whatever idea of       
pecuniary value enters into his thoughts
 as he works1 will1 in proportion to the
 distinctness of its presence1 shorten  
his power4 ,a real painter will work for
 you exquisitely1 if you give him1 as ,i
 told you a little while ago1 bread and 
water and salt2 and a bad painter will  
work badly and hastily1 though you give 
him a palace to live in1 and a princedom
 to live upon4 ,turner got1 in his      
earlier years1 half a crown a day and   
his supper 7not bad pay1 neither72 and  
he learned to paint upon that4 ,and ,i  
believe that there is no chance of art's
 truly flourishing in any country1 until
 you make it a simple and plain         
business1 providing its masters with an 
easy competence1 but rarely with        
anything more4 ,and ,i say this1 not    
because ,i despise the great painter1   

but because ,i honour him2 and ,i should
 no more think of adding to his         
respectability or happiness by giving   
him riches1 than1 if ,shakespeare or    
,milton were alive1 ,i should think we  
added to their respectability1 or were  
likely to get better work from them1 by 
making them millionaires4   #ii4 ,but1  
observe1 it is not only the painter     
himself whom you injure1 by giving him  
too high prices2 you injure all the     
inferior painters of the day4 ,if they  
are modest1 they will be discouraged and
 depressed by the feeling that their    
doings are worth so little1             
comparatively1 in your eyes2--if proud1 
all their worst passions will be        
aroused1 and the insult or opprobrium   
which they will try to cast on their    
successful rival will not only afflict  
and wound him1 but at last sour and     
harden him3 he cannot pass through such 
a trial without grievous harm4   #ajj4  
,that1 then1 is the effect you produce  
on the painter of mark1 and on the      

inferior ones of his own standing4 ,but 
you do worse than this2 you deprive     
yourselves1 by what you give for the    
fashionable picture1 of the power of    
helping the younger men who are coming  
forward4 ,be it admitted1 for argument's
 sake1 if you are not convinced by what 
,i have said1 that you do no harm to the
 great man by paying him well2 yet      
certainly you do him no special good4   
,his reputation is established1 and his 
fortune made2 he does not care whether  
you buy or not2 he thinks he is rather  
doing you a favour than otherwise by    
letting you have one of his pictures at 
all4 ,all the good you do him is to help
 him to buy a new pair of carriage      
horses2 whereas1 with that same sum     
which thus you cast away1 you might have
 relieved the hearts and preserved the  
health of twenty young painters2 and if1
 among those twenty1 you but chanced on 
one in whom a true latent power had been
 hindered by his poverty1 just consider 
what a far-branching1 far-embracing good

 you have wrought with that lucky       
expenditure of yours4 ,i say1 ,consider 
it1 in vain2 you cannot consider it1 for
 you cannot conceive the sickness of    
heart with which a young painter of deep
 feeling toils through his first        
obscurity2--his sense of the strong     
voice within him1 which you will not    
hear2--his vain1 fond1 wondering witness
 to the things you will not see2--his   
far-away perception of things that he   
could accomplish if he had but peace1   
and time1 all unapproachable and        
vanishing from him1 because no one will 
leave him peace or grant him time3 all  
his friends falling back from him2 those
 whom he would most reverently obey     
rebuking and paralysing him2 and1 last  
and worst of all1 those who believe in  
him the most faithfully suffering by him
 the most bitterly2--the wife's eyes1 in
 their sweet ambition1 shining brighter 
as the cheek wastes away2 and the little
 lips at his side parched and pale1     
which one day1 he knows1 though he may  

never see it1 will quiver so proudly    
when they call his name1 calling him our
 father4 ,you deprive yourselves1 by    
your large expenditure for pictures of  
mark1 of the power of relieving and     
redeeming this distress2 you injure the 
painter whom you pay so largely2--and   
what1 after all1 have you done for      
yourselves or got for yourselves8 ,it   
does not in the least follow that the   
hurried work of a fashionable painter   
will contain more for your money than   
the quiet work of some unknown man4 ,in 
all probability1 you will find1 if you  
rashly purchase what is popular at a    
high price1 that you have got one       
picture you don't care for1 for a sum   
which would have bought twenty you would
 have delighted in4   #aja4 ,for        
remember always1 that the price of a    
picture by a living artist never        
represents1 never can represent1 the    
quantity of labour or value in it4 ,its 
price represents1 for the most part1 the
 degree of desire which the rich people 

of the country have to possess it4 ,once
 get the wealthy classes to imagine that
 the possession of pictures by a given  
artist adds to their gentility1 and     
there is no price which his work may not
 immediately reach1 and for years       
maintain2 and in buying at that price1  
you are not getting value for your      
money1 but merely disputing for victory 
in a contest of ostentation4 ,and it is 
hardly possible to spend your money in a
 worse or more wasteful way2 for though 
you may not be doing it for ostentation 
yourself1 you are1 by your pertinacity1 
nourishing the ostentation of others2   
you meet them in their game of wealth1  
and continue it for them2 if they had   
not found an opposite player1 the game  
would have been done2 for a proud man   
can find no enjoyment in possessing     
himself of what nobody disputes with    
him4 ,so that by every farthing you give
 for a picture beyond its fair          
price--that is to say1 the price which  
will pay the painter for his time--you  

are not only cheating yourself and      
buying vanity1 but you are stimulating  
the vanity of others2 paying1 literally1
 for the cultivation of pride4 ,you may 
consider every pound that you spend     
above the just price of a work of art1  
as an investment in a cargo of mental   
quick-lime or guano1 which1 being laid  
on the fields of human nature1 is to    
grow a harvest of pride4 ,you are in    
fact ploughing and harrowing1 in a most 
valuable part of your land1 in order to 
reap the whirlwind2 you are setting your
 hand stoutly to ,job's                 
agriculture--,let thistles grow instead 
of wheat1 and cockle instead of barley4 
#ajb4 ,well1 but you will say1 there is 
one advantage in high prices1 which more
 than counter-balances all this         
mischief1 namely1 that by great reward  
we both urge and enable a painter to    
produce rather one perfect picture than 
many inferior ones3 and one perfect     
picture 7so you tell us1 and we believe 
it7 is worth a great number of inferior 

ones4  ,it is so2 but you cannot get it 
by paying for it4 ,a great work is only 
done when the painter gets into the     
humour for it1 likes his subject1 and   
determines to paint it as well as he    
can1 whether he is paid for it or not2  
but bad work1 and generally the worst   
sort of bad work1 is done when he is    
trying to produce a showy picture1 or   
one that shall appear to have as much   
labour in it as shall be worth a high   
price4#ac  ,note #ac3 ,when this lecture
 was delivered1 ,i gave here some data  
for approximate estimates of the average
 value of good modern pictures of       
different classes2 but the subject is   
too complicated to be adequately treated
 in writing1 without introducing more   
detail than the reader will have        
patience for4 ,but ,i may state1        
roughly1 that prices above a hundred    
guineas are in general extravagant for  
water-colours1 and above five hundred   
for oils4 ,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 elaborate4 ,the            
water-colour painters also are getting  
into the habit of making their drawings 
too large1 and in a measure attaching   
their price rather to breadth and extent
 of touch than to thoughtful labour4 ,of
 course marked exceptions occur here and
 there1 as in the case of ,john ,lewis1 
whose drawings are wrought with         
unfailing precision throughout1 whatever
 their scale4 ,hardly any price can be  
remunerative for such work4   #ajc4     
,there is1 however1 another point1 and a
 still more important one1 bearing on   
this matter of purchase1 than the       
keeping down of prices to a rational    
standard4 ,and that is1 that you pay    
your prices into the hands of living    
men1 and do not pour them into coffins4 
,for observe that1 as we arrange our    
payment of pictures at present1 no      
artist's work is worth half its proper  

value while he is alive4 ,the moment he 
dies1 his pictures1 if they are good1   
reach double their former value2 but1   
that rise of price represents simply a  
profit made by the intelligent dealer or
 purchaser on his past purchases4 ,so   
that the real facts of the matter are1  
that the ,british public1 spending a    
certain sum annually in art1 determines 
that1 of every thousand it pays1 only   
five hundred shall go to the painter1 or
 shall be at all concerned in the       
production of art2 and that the other   
five hundred shall be paid merely as a  
testimonial to the intelligent dealer1  
who knew what to buy4 ,now1 testimonials
 are very pretty and proper things1     
within due limits2 but testimonial to   
the amount of a hundred per cent4 on the
 total expenditure is not good political
 economy4 ,do not1 therefore1 in        
general1 unless you see it to be        
necessary for its preservation1 buy the 
picture of a dead artist4 ,if you fear  
that it may be exposed to contempt or   

neglect1 buy it2 its price will then1   
probably1 not be high3 if you want to   
put it into a public gallery1 buy it2   
you are sure1 then1 that you do not     
spend your money selfishly3 or1 if you  
loved the man's work while he was alive1
 and bought it then1 buy it also now1 if
 you can see no living work equal to it4
 ,but if you did not buy it while the   
man was living1 never buy it after he is
 dead3 you are then doing no good to    
him1 and you are doing some shame to    
yourself4 ,look around you for pictures 
that you really like1 and in buying     
which you can help some genius yet      
unperished--that is the best atonement  
you can make to the one you have        
neglected--and give to the living and   
struggling painter at once wages1 and   
testimonial4   #ajd4 ,so far then of the
 motives which should induce us to keep 
down the prices of modern art1 and thus 
render it1 as a private possession1     
attainable by greater numbers of people 
than at present4 ,but we should strive  

to render it accessible to them in other
 ways also--chiefly by the permanent    
decoration of public buildings2 and it  
is in this field that ,i think we may   
look for the profitable means of        
providing that constant employment for  
young painters of which we were speaking
 last evening4  ,the first and most     
important kind of public buildings which
 we are always sure to want1 are        
schools3 and ,i would ask you to        
consider very carefully1 whether we may 
not wisely introduce some great changes 
in the way of school decoration4        
,hitherto1 as far as ,i know1 it has    
either been so difficult to give all the
 education we wanted to our lads1 that  
we have been obliged to do it1 if at    
all1 with cheap furniture and bare      
walls2 or else we have considered that  
cheap furniture and bare walls are a    
proper part of the means of education2  
and supposed that boys learned best when
 they sat on hard forms1 and had nothing
 but blank plaster about and above them 

whereupon to employ their spare         
attention2 also1 that it was as well    
they should be accustomed to rough and  
ugly conditions of things1 partly by way
 of preparing them for the hardships of 
life1 and partly that there might be the
 least possible damage done to floors   
and forms1 in the event of their        
becoming1 during the master's absence1  
the fields or instruments of battle4    
,all this is so far well and necessary1 
as it relates to the training of country
 lads1 and the first training of boys in
 general4 ,but there certainly comes a  
period in the life of a well-educated   
youth1 in which one of the principal    
elements of his education is1 or ought  
to be1 to give him refinement of habits2
 and not only to teach him the strong   
exercises of which his frame is capable1
 but also to increase his bodily        
sensibility and refinement1 and show him
 such small matters as the way of       
handling things properly1 and treating  
them considerately4   #aje4 ,not only   

so2 but ,i believe the notion of fixing 
the attention by keeping the room empty1
 is a wholly mistaken one3 ,i think it  
is just in the emptiest room that the   
mind wanders most2 for it gets restless1
 like a bird1 for want of a perch1 and  
casts about for any possible means of   
getting out and away4 ,and even if it be
 fixed1 by an effort1 on the business in
 hand1 that business becomes itself     
repulsive1 more than it need be1 by the 
vileness of its associations2 and many a
 study appears dull or painful to a boy1
 when it is pursued on a blotted deal   
desk1 under a wall with nothing on it   
but scratches and pegs1 which would have
 been pursued pleasantly enough in a    
curtained corner of his father's        
library1 or at the lattice window of his
 cottage4 ,now1 my own belief is1 that  
the best study of all is the most       
beautiful2 and that a quiet glade of    
forest1 or the nook of a lake shore1 are
 worth all the schoolrooms in           
,christendom1 when once you are past the

 multiplication table2 but be that as it
 may1 there is no question at all but   
that a time ought to come in the life of
 a well-trained youth1 when he can sit  
at a writing-table without wanting to   
throw the inkstand at his neighbour2 and
 when also he will feel more capable of 
certain efforts of mind with beautiful  
and refined forms about him than with   
ugly ones4 ,when that time comes1 he    
ought to be advanced into the decorated 
schools2 and this advance ought to be   
one of the important and honourable     
epochs of his life4   #ajf4 ,i have not 
time1 however1 to insist on the mere    
serviceableness to our youth of refined 
architectural decoration1 as such2 for  
,i want you to consider the probable    
influence of the particular kind of     
decoration which ,i wish you to get for 
them1 namely1 historical painting4 ,you 
know we have hitherto been in the habit 
of conveying all our historical         
knowledge1 such as it is1 by the ear    
only1 never by the eye2 all our notion  

of things being ostensibly derived from 
verbal description1 not from sight4     
,now1 ,i have no doubt that1 as we grow 
gradually wiser--and we are doing so    
every day--we shall discover at last    
that the eye is a nobler organ than the 
ear2 and that through the eye we must1  
in reality1 obtain1 or put into form1   
nearly all the useful information we are
 to have about this world4 ,even as the 
matter stands1 you will find that the   
knowledge which a boy is supposed to    
receive from verbal description is only 
available to him so far as in any       
underhand way he gets a sight of the    
thing you are talking about4 ,i remember
 well that1 for many years of my life1  
the only notion ,i had of the look of a 
,greek knight was complicated between   
recollection of a small engraving in my 
pocket ,pope's ,homer1 and reverent     
study of the ,horse ,guards4 ,and though
 ,i believe that most boys collect their
 ideas from more varied sources and     
arrange them more carefully than ,i did2

 still1 whatever sources they seek must 
always be ocular3 if they are clever    
boys1 they will go and look at the      
,greek vases and sculptures in the      
,british ,museum1 and at the weapons in 
our armouries--they will see what real  
armour is like in lustre1 and what      
,greek armour was like in form1 and so  
put a fairly true image together1 but   
still not1 in ordinary cases1 a very    
living or interesting one4   #ajg4 ,now1
 the use of your decorative painting    
would be1 in myriads of ways1 to animate
 their history for them1 and to put the 
living aspect of past things before     
their eyes as faithfully as intelligent 
invention can2 so that the master shall 
have nothing to do but once to point to 
the schoolroom walls1 and for ever      
afterwards the meaning of any word would
 be fixed in a boy's mind in the best   
possible way4 ,is it a question of      
classical dress--what a tunic was like1 
or a chlamys1 or a peplus8 ,at this day1
 you have to point to some vile woodcut1

 in the middle of a dictionary page1    
representing the thing hung upon a      
stick2 but then1 you would point to a   
hundred figures1 wearing the actual     
dress1 in its fiery colours1 in all     
actions of various stateliness or       
strength2 you would understand at once  
how it fell round the people's limbs as 
they stood1 how it drifted from their   
shoulders as they went1 how it veiled   
their faces as they wept1 how it covered
 their heads in the day of battle4 ,now1
 if you want to see what a weapon is    
like1 you refer1 in like manner1 to a   
numbered page1 in which there are       
spear-heads in rows1 and sword-hilts in 
symmetrical groups2 and gradually the   
boy gets a dim mathematical notion how  
one scimitar is hooked to the right and 
another to the left1 and one javelin has
 a knob to it and another none3 while   
one glance at your good picture would   
show him1--and the first rainy afternoon
 in the schoolroom would for ever fix in
 his mind1--the look of the sword and   

spear as they fell or flew2 and how they
 pierced1 or bent1 or shattered--how men
 wielded them1 and how men died by them4
   #ajh4 ,but far more than all this1 is
 it a question not of clothes or        
weapons1 but of men8 how can we         
sufficiently estimate the effect on the 
mind of a noble youth1 at the time when 
the world opens to him1 of having       
faithful and touching representations   
put before him of the acts and presences
 of great men--how many a resolution1   
which would alter and exalt the whole   
course of his after-life1 might be      
formed1 when in some dreamy twilight he 
met1 through his own tears1 the fixed   
eyes of those shadows of the great dead1
 unescapable and calm1 piercing to his  
soul2 or fancied that their lips moved  
in dread reproof or soundless           
exhortation8 ,and if but for one out of 
many this were true--if yet1 in a few1  
you could be sure that such influence   
had indeed changed their thoughts and   
destinies1 and turned the eager and     

reckless youth1 who would have cast away
 his energies on the race-horse or the  
gambling-table1 to that noble life-race1
 that holy life-hazard1 which should win
 all glory to himself and all good to   
his country1--would not that1 to some   
purpose1 be political economy of art8   
#aji4 ,and observe1 there could be no   
monotony1 no exhaustibleness1 in the    
scenes required to be thus portrayed4   
,even if there were1 and you wanted for 
every school in the kingdom1 one death  
of ,leonidas2 one battle of ,marathon2  
one death of ,cleobis and ,bito2 there  
need not therefore be more monotony in  
your art than there was in the          
repetition of a given cycle of subjects 
by the religious painters of ,italy4    
,but we ought not to admit a cycle at   
all4 ,for though we had as many great   
schools as we have great cities 7one day
 ,i hope we shall have71 centuries of   
painting would not exhaust1 in all the  
number of them1 the noble and pathetic  
subjects which might be chosen from the 

history of even one noble nation4 ,but1 
beside this1 you will not1 in a little  
while1 limit your youths' studies to so 
narrow fields as you do now4 ,there will
 come a time--,i am sure of it--when it 
will be found that the same practical   
results1 both in mental discipline and  
in political philosophy1 are to be      
attained by the accurate study of       
medival and modern as of ancient        
history2 and that the facts of medival  
and modern history are1 on the whole1   
the most important to us4 ,and among    
these noble groups of constellated      
schools which ,i foresee arising in our 
,england1 ,i foresee also that there    
will be divided fields of thought2 and  
that while each will give its scholars a
 great general idea of the world's      
history1 such as all men should         
possess--each will also take upon       
itself1 as its own special duty1 the    
closer study of the course of events in 
some given place or time4 ,it will      
review the rest of history1 but it will 

exhaust its own special field of it2 and
 found its moral and political teaching 
on the most perfect possible analysis of
 the results of human conduct in one    
place1 and at one epoch4 ,and then1 the 
galleries of that school will be painted
 with the historical scenes belonging to
 the age which it has chosen for its    
special study4   #aaj4 ,so far1 then1 of
 art as you may apply it to that great  
series of public buildings which you    
devote to the education of youth4 ,the  
next large class of public buildings in 
which we should introduce it1 is one    
which ,i think a few years more of      
national progress will render more      
serviceable to us than they have been   
lately4 ,i mean1 buildings for the      
meetings of guilds of trades4  ,and     
here1 for the last time1 ,i must again  
interrupt the course of our chief       
inquiry1 in order to state one other    
principle of political economy1 which is
 perfectly simple and indisputable2 but 
which1 nevertheless1 we continually get 

into commercial embarrassments for want 
of understanding2 and not only so1 but  
suffer much hindrance in our commercial 
discoveries1 because many of our        
business men do not practically admit   
it4  ,supposing half a dozen or a dozen 
men were cast ashore from a wreck on an 
uninhabited island1 and left to their   
own resources1 one of course1 according 
to his capacity1 would be set to one    
business and one to another2 the        
strongest to dig and cut wood1 and to   
build huts for the rest3 the most       
dexterous to make shoes out of bark and 
coats out of skins2 the best educated to
 look for iron or lead in the rocks1 and
 to plan the channels for the irrigation
 of the fields4 ,but though their       
labours were thus naturally severed1    
that small group of shipwrecked men     
would understand well enough that the   
speediest progress was to be made by    
helping each other1--not by opposing    
each other3 and they would know that    
this help could only be properly given  

so long as they were frank and open in  
their relations1 and the difficulties   
which each lay under properly explained 
to the rest4 ,so that any appearance of 
secrecy or separateness in the actions  
of any of them would instantly1 and     
justly1 be looked upon with suspicion by
 the rest1 as the sign of some selfish  
or foolish proceeding on the part of the
 individual4 ,if1 for instance1 the     
scientific man were found to have gone  
out at night1 unknown to the rest1 to   
alter the sluices1 the others would     
think1 and in all probability rightly   
think1 that he wanted to get the best   
supply of water to his own field2 and if
 the shoemaker refused to show them     
where the bark grew which he made the   
sandals of1 they would naturally think1 
and in all probability rightly think1   
that he didn't want them to see how much
 there was of it1 and that he meant to  
ask from them more corn and potatoes in 
exchange for his sandals than the       
trouble of making them deserved4 ,and   

thus1 although each man would have a    
portion of time to himself in which he  
was allowed to do what he chose without 
let or inquiry1--so long as he was      
working in that particular business     
which he had undertaken for the common  
benefit1 any secrecy on his part would  
be immediately supposed to mean         
mischief2 and would require to be       
accounted for1 or put an end to3 and    
this all the more because whatever the  
work might be1 certainly there would be 
difficulties about it which1 when once  
they were well explained1 might be more 
or less done away with by the help of   
the rest2 so that assuredly every one of
 them would advance with his labour not 
only more happily1 but more profitably  
and quickly1 by having no secrets1 and  
by frankly bestowing1 and frankly       
receiving1 such help as lay in his way  
to get or to give4   #aaa4 ,and1 just as
 the best and richest result of wealth  
and happiness to the whole of them would
 follow on their perseverance in such a 

system of frank communication and of    
helpful labour2--so precisely the worst 
and poorest result would be obtained by 
a system of secrecy and of enmity2 and  
each man's happiness and wealth would   
assuredly be diminished in proportion to
 the degree in which jealousy and       
concealment became their social and     
economical principles4 ,it would not1 in
 the long run1 bring good1 but only     
evil1 to the man of science1 if1 instead
 of telling openly where he had found   
good iron1 he carefully concealed every 
new bed of it1 that he might ask1 in    
exchange for the rare ploughshare1 more 
corn from the farmer1 or1 in exchange   
for the rude needle1 more labour from   
the sempstress3 and it would not        
ultimately bring good1 but only evil1 to
 the farmers1 if they sought to burn    
each other's cornstacks1 that they might
 raise the value of their grain1 or if  
the sempstresses tried to break each    
other's needles1 that each might get all
 the stitching to herself4   #aab4 ,now1

 these laws of human action are         
precisely as authoritative in their     
application to the conduct of a million 
of men1 as to that of six or twelve4    
,all enmity1 jealousy1 opposition1 and  
secrecy are wholly1 and in all          
circumstances1 destructive in their     
nature--not productive2 and all         
kindness1 fellowship1 and               
communicativeness are invariably        
productive in their operation1--not     
destructive2 and the evil principles of 
opposition and exclusiveness are not    
rendered less fatal1 but more fatal1 by 
their acceptance among large masses of  
men2 more fatal1 ,i say1 exactly in     
proportion as their influence is more   
secret4 ,for though the opposition does 
always its own simple1 necessary1 direct
 quantity of harm1 and withdraws always 
its own simple1 necessary1 measurable   
quantity of wealth from the sum         
possessed by the community1 yet1 in     
proportion to the size of the community1
 it does another and more refined       

mischief than this1 by concealing its   
own fatality under aspects of mercantile
 complication and expediency1 and giving
 rise to multitudes of false theories   
based on a mean belief in narrow and    
immediate appearances of good done here 
and there by things which have the      
universal and everlasting nature of     
evil4 ,so that the time and powers of   
the nation are wasted1 not only in      
wretched struggling against each other1 
but in vain complaints1 and groundless  
discouragements1 and empty              
investigations1 and useless experiments 
in laws1 and elections1 and inventions2 
with hope always to pull wisdom through 
some new-shaped slit in a ballot-box1   
and to drag prosperity down out of the  
clouds along some new knot of electric  
wire2 while all the while ,wisdom stands
 calling at the corners of the streets1 
and the blessing of ,heaven waits ready 
to rain down upon us1 deeper than the   
rivers and broader than the dew1 if only
 we will obey the first plain principles

 of humanity1 and the first plain       
precepts of the skies3 ,execute true    
judgment1 and show mercy and compassion1
 every man to his brother2 and let none 
of you imagine evil against his brother 
in your heart4#ad  ,note #ad3 ,it would 
be well if1 instead of preaching        
continually about the doctrine of faith 
and good works1 our clergymen would     
simply explain to their people a little 
what good works mean4 ,there is not a   
chapter in all the book we profess to   
believe1 more specially and directly    
written for ,england than the second of 
,habakkuk1 and ,i never in all my life  
heard one of its practical texts        
preached from4 ,i suppose the clergymen 
are all afraid1 and know their flocks1  
while they will sit quite politely to   
hear syllogisms out of the epistle to   
the ,romans1 would get restive directly 
if they ever pressed a practical text   
home to them4 ,but we should have no    
mercantile catastrophes1 and no         
distressful pauperism1 if we only read  

often1 and took to heart1 those plain   
words3--,yea1 also1 because he is a     
proud man1 neither keepeth at home1 who 
enlargeth his desire as hell1 and cannot
 be satisfied1--,shall not all these    
take up a parable against him1 and a    
taunting proverb against him1 and say1  
',woe to him that increaseth that which 
is not his3 and to him that ladeth      
himself with thick clay'8 7,what a      
glorious history in one metaphor1 of the
 life of a man greedy of fortune67 ,woe 
to him that coveteth an evil            
covetousness that he may set his nest on
 high4 ,woe to him that buildeth a town 
with blood1 and establisheth a city by  
iniquity4 ,behold1 is it not of the     
,lord of ,hosts that the people shall   
labour in the very fire1 and the people 
shall weary themselves for very vanity8 
,the ,americans1 who have been sending  
out ships with sham bolt-heads on their 
timbers1 and only half their bolts1 may 
meditate on that buildeth a town with   
blood4   #aac4 ,therefore1 ,i believe   

most firmly1 that as the laws of        
national prosperity get familiar to us1 
we shall more and more cast our toil    
into social and communicative systems2  
and that one of the first means of our  
doing so1 will be the re-establishing   
guilds of every important trade in a    
vital1 not formal1 condition2--that     
there will be a great council or        
government house for the members of     
every trade1 built in whatever town of  
the kingdom occupies itself principally 
in such trade1 with minor council-halls 
in other cities2 and to each            
council-hall1 officers attached1 whose  
first business may be to examine into   
the circumstances of every operative1 in
 that trade1 who chooses to report      
himself to them when out of work1 and to
 set him to work1 if he is indeed able  
and willing1 at a fixed rate of wages1  
determined at regular periods in the    
council-meetings2 and whose next duty   
may be to bring reports before the      
council of all improvements made in the 

business1 and means of its extension3   
not allowing private patents of any     
kind1 but making all improvements       
available to every member of the guild1 
only allotting1 after successful trial  
of them1 a certain reward to the        
inventors4   #aad4 ,for these1 and many 
other such purposes1 such halls will be 
again1 ,i trust1 fully established1 and 
then1 in the paintings and decorations  
of them1 especial effort ought to be    
made to express the worthiness and      
honourableness of the trade for whose   
members they are founded4 ,for ,i       
believe one of the worst symptoms of    
modern society to be1 its notion of     
great inferiority1 and                  
ungentlemanliness1 as necessarily       
belonging to the character of a         
tradesman4 ,i believe tradesmen may be1 
ought to be--often are1 more gentlemen  
than idle and useless people3 and ,i    
believe that art may do noble work by   
recording in the hall of each trade1 the
 services which men belonging to that   

trade have done for their country1 both 
preserving the portraits1 and recording 
the important incidents in the lives1 of
 those who have made great advances in  
commerce and civilization4 ,i cannot    
follow out this subject--it branches too
 far1 and in too many directions2       
besides1 ,i have no doubt you will at   
once see and accept the truth of the    
main principle1 and be able to think it 
out for yourselves4 ,i would fain also  
have said something of what might be    
done1 in the same manner1 for almshouses
 and hospitals1 and for what1 as ,i     
shall try to explain in notes to this   
lecture1 we may hope to see1 some day1  
established with a different meaning in 
their name than that they now           
bear--work-houses2 but ,i have detained 
you too long already1 and cannot permit 
myself to trespass further on your      
patience except only to recapitulate1 in
 closing1 the simple principles         
respecting wealth which we have gathered
 during the course of our inquiry2      

principles which are nothing more than  
the literal and practical acceptance of 
the saying which is in all good men's   
mouths--namely1 that they are stewards  
or ministers of whatever talents are    
entrusted to them4   #aae4 ,only1 is it 
not a strange thing1 that while we more 
or less accept the meaning of that      
saying1 so long as it is considered     
metaphorical1 we never accept its       
meaning in its own terms8 ,you know the 
lesson is given us under the form of a  
story about money4 ,money was given to  
the servants to make use of3 the        
unprofitable servant dug in the earth1  
and hid his lord's money4 ,well1 we1 in 
our political and spiritual application 
of this1 say1 that of course money      
doesn't mean money3 it means wit1 it    
means intellect1 it means influence in  
high quarters1 it means everything in   
the world except itself4 ,and do not you
 see what a pretty and pleasant come-off
 there is for most of us1 in this       
spiritual application8 ,of course1 if we

 had wit1 we would use it for the good  
of our fellow-creatures4 ,but we haven't
 wit4 ,of course1 if we had influence   
with the bishops1 we would use it for   
the good of the ,church2 but we haven't 
any influence with the bishops4 ,of     
course1 if we had political power1 we   
would use it for the good of the nation2
 but we have no political power2 we have
 no talents entrusted to us of any sort 
or kind4 ,it is true we have a little   
money1 but the parable can't possibly   
mean anything so vulgar as money2 our   
money's our own4   #aaf4 ,i believe1 if 
you think seriously of this matter1 you 
will feel that the first and most       
literal application is just as necessary
 a one as any other--that the story does
 very specially mean what it says--plain
 money2 and that the reason we don't at 
once believe it does so1 is a sort of   
tacit idea that while thought1 wit1 and 
intellect1 and all power of birth and   
position1 are indeed given to us1 and1  
therefore1 to be laid out for the       

,giver--our wealth has not been given to
 us2 but we have worked for it1 and have
 a right to spend it as we choose4 ,i   
think you will find that is the real    
substance of our understanding in this  
matter4 ,beauty1 we say1 is given by    
,god--it is a talent2 strength is given 
by ,god--it is a talent2 position is    
given by ,god--it is a talent2 but money
 is proper wages for our day's work--it 
is not a talent1 it is a due4 ,we may   
justly spend it on ourselves1 if we have
 worked for it4   #aag4 ,and there would
 be some shadow of excuse for this1 were
 it not that the very power of making   
the money is itself only one of the     
applications of that intellect or       
strength which we confess to be talents4
 ,why is one man richer than another8   
,because he is more industrious1 more   
persevering1 and more sagacious4 ,well1 
who made him more persevering or more   
sagacious than others8 ,that power of   
endurance1 that quickness of            
apprehension1 that calmness of judgment1

 which enable him to seize the          
opportunities that others lose1 and     
persist in the lines of conduct in which
 others fail--are these not             
talents8--are they not1 in the present  
state of the world1 among the most      
distinguished and influential of mental 
gifts8 ,and is it not wonderful1 that   
while we should be utterly ashamed to   
use a superiority of body1 in order to  
thrust our weaker companions aside from 
some place of advantage1 we             
unhesitatingly use our superiorities of 
mind to thrust them back from whatever  
good that strength of mind can attain8  
,you would be indignant if you saw a    
strong man walk into a theatre or a     
lecture-room1 and1 calmly choosing the  
best place1 take his feeble neighbour by
 the shoulder1 and turn him out of it   
into the back seats1 or the street4 ,you
 would be equally indignant if you saw a
 stout fellow thrust himself up to a    
table where some hungry children were   
being fed1 and reach his arm over their 

heads and take their bread from them4   
,but you are not the least indignant if1
 when a man has stoutness of thought and
 swiftness of capacity1 and1 instead of 
being long-armed only1 has the much     
greater gift of being long-headed--you  
think it perfectly just that he should  
use his intellect to take the bread out 
of the mouths of all the other men in   
the town who are of the same trade with 
him2 or use his breadth and sweep of    
sight to gather some branch of the      
commerce of the country into one great  
cobweb1 of which he is himself to be the
 central spider1 making every thread    
vibrate with the points of his claws1   
and commanding every avenue with the    
facets of his eyes4 ,you see no         
injustice in this4   #aah4 ,but there is
 injustice2 and1 let us trust1 one of   
which honourable men will at no very    
distant period disdain to be guilty4 ,in
 some degree1 however1 it is indeed not 
unjust2 in some degree1 it is necessary 
and intended4 ,it is assuredly just that

 idleness should be surpassed by energy2
 that the widest influence should be    
possessed by those who are best able to 
wield it2 and that a wise man1 at the   
end of his career1 should be better off 
than a fool4 ,but for that reason1 is   
the fool to be wretched1 utterly crushed
 down1 and left in all the suffering    
which his conduct and capacity naturally
 inflict8--,not so4 ,what do you suppose
 fools were made for8 ,that you might   
tread upon them1 and starve them1 and   
get the better of them in every possible
 way8 ,by no means4 ,they were made that
 wise people might take care of them4   
,that is the true and plain fact        
concerning the relations of every strong
 and wise man to the world about him4   
,he has his strength given him1 not that
 he may crush the weak1 but that he may 
support and guide them4 ,in his own     
household he is to be the guide and the 
support of his children2 out of his     
household he is still to be the         
father--that is1 the guide and          

support--of the weak and the poor2 not  
merely of the meritoriously weak and the
 innocently poor1 but of the guiltily   
and punishably poor2 of the men who     
ought to have known better--of the poor 
who ought to be ashamed of themselves4  
,it is nothing to give pension and      
cottage to the widow who has lost her   
son2 it is nothing to give food and     
medicine to the workman who has broken  
his arm1 or the decrepit woman wasting  
in sickness4 ,but it is something to use
 your time and strength to war with the 
waywardness and thoughtlessness of      
mankind2 to keep the erring workman in  
your service till you have made him an  
unerring one2 and to direct your        
fellow-merchant to the opportunity which
 his dulness would have lost4 ,this is  
much2 but it is yet more1 when you have 
fully achieved the superiority which is 
due to you1 and acquired the wealth     
which is the fitting reward of your     
sagacity1 if you solemnly accept the    
responsibility of it1 as it is the helm 

and guide of labour far and near4       
#aai4 ,for you who have it in your hands
 are in reality the pilots of the power 
and effort of the ,state4 ,it is        
entrusted to you as an authority to be  
used for good or evil1 just as          
completely as kingly authority was ever 
given to a prince1 or military command  
to a captain4 ,and1 according to the    
quantity of it that you have in your    
hands1 you are the arbiters of the will 
and work of ,england2 and the whole     
issue1 whether the work of the ,state   
shall suffice for the ,state or not1    
depends upon you4 ,you may stretch out  
your sceptre over the heads of the      
,english labourers1 and say to them1 as 
they stoop to its waving1 ,subdue this  
obstacle that has baffled our fathers1  
put away this plague that consumes our  
children2 water these dry places1 plough
 these desert ones1 carry this food to  
those who are in hunger2 carry this     
light to those who are in darkness2     
carry this life to those who are in     

death2 or on the other side you may say 
to her labourers3 ,here am ,i2 this     
power is in my hand2 come1 build a mound
 here for me to be throned upon1 high   
and wide2 come1 make crowns for my head1
 that men may see them shine from far   
away2 come1 weave tapestries for my     
feet1 that ,i may tread softly on the   
silk and purple2 come1 dance before me1 
that ,i may be gay2 and sing sweetly to 
me1 that ,i may slumber2 so shall ,i    
live in joy1 and die in honour4 ,and    
better than such an honourable death it 
were that the day had perished wherein  
we were born1 and the night in which it 
was said there is a child conceived4    
#abj4 ,i trust that in a little while   
there will be few of our rich men who1  
through carelessness or covetousness1   
thus forfeit the glorious office which  
is intended for their hands4 ,i said1   
just now1 that wealth ill-used was as   
the net of the spider1 entangling and   
destroying3 but wealth well used is as  
the net of the sacred fisher who gathers

 souls of men out of the deep4 ,a time  
will come--,i do not think even now it  
is far from us--when this golden net of 
the world's wealth will be spread abroad
 as the flaming meshes of morning cloud 
are over the sky2 bearing with them the 
joy of light and the dew of the morning1
 as well as the summons to honourable   
and peaceful toil4 ,what less can we    
hope from your wealth than this1 rich   
men of ,england1 when once you feel     
fully how1 by the strength of your      
possessions--not1 observe1 by the       
exhaustion1 but by the administration of
 them and the power1--you can direct the
 acts--command the energies--inform the 
ignorance--prolong the existence1 of the
 whole human race2 and how1 even of     
worldly wisdom1 which man employs       
faithfully1 it is true1 not only that   
her ways are pleasantness1 but that her 
paths are peace2 and that1 for all the  
children of men1 as well as for those to
 whom she is given1 ,length of days is  
in her right hand1 as in her left hand  

,riches and ,honour8     ,,addenda      
,note1 p4 #ah4--;,fatherly authority4   
#aba4 ,this statement could not1 of     
course1 be heard without displeasure by 
a certain class of politicians2 and in  
one of the notices of these lectures    
given in the ,manchester journals at the
 time1 endeavour was made to get quit of
 it by referring to the ,divine         
authority1 as the only ,paternal power  
with respect to which men were truly    
styled brethren4 ,of course it is so1   
and1 equally of course1 all human       
government is nothing else than the     
executive expression of this ,divine    
authority4 ,the moment government ceases
 to be the practical enforcement of     
,divine law1 it is tyranny2 and the     
meaning which ,i attach to the words    
paternal government1 is1 in more        
extended terms1 simply this--,the       
executive fulfilment1 by formal human   
methods1 of the will of the ,father of  
mankind respecting ,his children4 ,i    
could not give such a definition of     

,government as this in a popular        
lecture2 and even in written form1 it   
will necessarily suggest many           
objections1 of which ,i must notice and 
answer the most probable4  ,only1 in    
order to avoid the recurrence of such   
tiresome phrases as it may be answered  
in the second place1 and it will be     
objected in the third place1 etc41 ,i   
will ask the reader's leave to arrange  
the discussion in the form of simple    
dialogue1 letting ,o4 stand for         
objector1 and ,r4 for response4   #abb4 
,o4--,you define your paternal          
government to be the executive          
fulfilment1 by formal human methods1 of 
the ,divine will4 ,but1 assuredly1 that 
will cannot stand in need of aid or     
expression from human laws4 ,it cannot  
fail of its fulfilment4   ,r4 #abb4 ,in 
the final sense it cannot2 and in that  
sense1 men who are committing murder and
 stealing are fulfilling the will of    
,god as much as the best and kindest    
people in the world4 ,but in the limited

 and present sense1 the only sense with 
which we have anything to do1 ,god's    
will concerning man is fulfilled by some
 men1 and thwarted by others4 ,and those
 men who either persuade or enforce the 
doing of it1 stand towards those who are
 rebellious against it exactly in the   
position of faithful children in a      
family1 who1 when the father is out of  
sight1 either compel or persuade the    
rest to do as their father would have   
them1 were he present2 and in so far as 
they are expressing and maintaining1 for
 the time1 the paternal authority1 they 
exercise1 in the exact sense in which ,i
 mean the phrase to be understood1      
paternal government over the rest4      
,o4--,but1 if ,providence has left a    
liberty to man in many things in order  
to prove him1 why should human law      
abridge that liberty1 and take upon     
itself to compel what the great         
,lawgiver does not compel8   #abc4      
,r4--,it is confessed1 in the enactment 
of any law whatsoever1 that human       

lawgivers have a right to do this4 ,for1
 if you have no right to abridge any of 
the liberty which ,providence has left  
to man1 you have no right to punish any 
one for committing murder or robbery4   
,you ought to leave them to the         
punishment of ,god and ,nature4 ,but if 
you think yourself under obligation to  
punish1 as far as human laws can1 the   
violation of the will of ,god by these  
great sins1 you are certainly under the 
same obligation to punish1 with         
proportionately less punishment1 the    
violation of ,his will in less sins4    
,o4--,no2 you must not attempt to punish
 less sins by law1 because you cannot   
properly define nor ascertain them4     
,everybody can determine whether murder 
has been committed or not1 but you      
cannot determine how far people have    
been unjust or cruel in minor matters1  
and therefore cannot make or execute    
laws concerning minor matters4  ,r4--,if
 ,i propose to you to punish faults     
which cannot be defined1 or to execute  

laws which cannot be made equitable1    
reject the laws ,i propose4 ,but do not 
generally object to the principle of    
law4  ,o4--,yes2 ,i generally object to 
the principle of law as applied to minor
 things2 because1 if you could succeed  
7which you cannot7 in regulating the    
entire conduct of men by law in little  
things as well as great1 you would take 
away from human life all its            
probationary character1 and render many 
virtues and pleasures impossible4 ,you  
would reduce virtue to the movement of a
 machine1 instead of the act of a       
spirit4   #abd4 ,r4--,you have just     
said1 parenthetically1 and ,i fully and 
willingly admit it1 that it is          
impossible to regulate all minor matters
 by law4 ,is it not probable1 therefore1
 that the degree in which it is possible
 to regulate them by it1 is also the    
degree in which it is right to regulate 
them by it8 ,or what other means of     
judgment will you employ1 to separate   
the things which ought to be formally   

regulated from the things which ought   
not8 ,you admit that great sins should  
be legally repressed2 but you say that  
small sins should not be legally        
repressed4 ,how do you distinguish      
between great and small sins8 and how do
 you intend to determine1 or do you in  
practice of daily life determine1 on    
what occasions you should compel people 
to do right1 and on what occasions you  
should leave them the option of doing   
wrong8  ,o4--,i think you cannot make   
any accurate or logical distinction in  
such matters2 but that common sense and 
instinct have1 in all civilised nations1
 indicated certain crimes of great      
social harmfulness1 such as murder1     
theft1 adultery1 slander1 and such like1
 which it is proper to repress legally2 
and that common sense and instinct      
indicate also the kind of crimes which  
it is proper for laws to let alone1 such
 as miserliness1 ill-natured speaking1  
and many of those commercial            
dishonesties which ,i have a notion you 

want your paternal government to        
interfere with4  ,r4--,pray do not alarm
 yourself about what my paternal        
government is likely to interfere with1 
but keep to the matter in hand4 ,you say
 that common sense and instinct have1 in
 all civilised nations1 distinguished   
between the sins that ought to be       
legally dealt with and that ought not4  
,do you mean that the laws of all       
civilised nations are perfect8          
,o4--,no2 certainly not4  ,r4--,or that 
they are perfect at least in their      
discrimination of what crimes they      
should deal with1 and what crimes they  
should let alone8  ,o4--,no2 not        
exactly4  ,r4--,what do you mean1 then8 
#abe4 ,o4--,i mean that the general     
tendency is right in the laws of        
civilised nations2 and that1 in due     
course of time1 natural sense and       
instinct point out the matters they     
should be brought to bear upon4 ,and    
each question of legislation must be    
made a separate subject of inquiry as it

 presents itself3 you cannot fix any    
general principles about what should be 
dealt with legally1 and what should not4
  ,r4--,supposing it to be so1 do you   
think there are any points in which our 
,english legislation is capable of      
amendment1 as it bears on commercial and
 economical matters1 in this present    
time8  ,o4--,of course ,i do4           
,r4--,well1 then1 let us discuss these  
together quietly2 and if the points that
 ,i want amended seem to you incapable  
of amendment1 or not in need of         
amendment1 say so3 but don't object1 at 
starting1 to the mere proposition of    
applying law to things which have not   
had law applied to them before4 ,you    
have admitted the fitness of my         
expression1 paternal government3 it only
 has been1 and remains1 a question      
between us1 how far such government     
should extend4 ,perhaps you would like  
it only to regulate1 among the children1
 the length of their lessons2 and       
perhaps ,i should like it also to       

regulate the hardness of their          
cricket-balls3 but cannot you wait      
quietly till you know what ,i want it to
 do1 before quarrelling with the thing  
itself8  ,o4--,no2 ,i cannot wait       
quietly2 in fact1 ,i don't see any use  
in beginning such a discussion at all1  
because ,i am quite sure from the first1
 that you want to meddle with things    
that you have no business with1 and to  
interfere with healthy liberty of action
 in all sorts of ways2 and ,i know that 
you can't propose any laws that would be
 of real use4#ae  ,note #ae3 ,if the    
reader is displeased with me for putting
 this foolish speech into his mouth1 ,i 
entreat his pardon2 but he may be       
assured that it is a speech which would 
be made by many people1 and the         
substance of which would be tacitly felt
 by many more1 at this point of the     
discussion4 ,i have really tried1 up to 
this point1 to make the objector as     
intelligent a person as it is possible  
for an author to imagine anybody to be  

who differs with him4   #abf4 ,r4--,if  
you indeed know that1 you would be wrong
 to hear me any farther4 ,but if you are
 only in painful doubt about me1 which  
makes you unwilling to run the risk of  
wasting your time1 ,i will tell you     
beforehand what ,i really do think about
 this same liberty of action1 namely1   
that whenever we can make a perfectly   
equitable law about any matter1 or even 
a law securing1 on the whole1 more just 
conduct than unjust1 we ought to make   
that law2 and that there will yet1 on   
these conditions1 always remain a number
 of matters respecting which legalism   
and formalism are impossible2 enough1   
and more than enough1 to exercise all   
human powers of individual judgment1 and
 afford all kinds of scope to individual
 character4 ,i think this2 but of course
 it can only be proved by separate      
examination of the possibilities of     
formal restraint in each given field of 
action2 and these two lectures are      
nothing more than a sketch of such a    

detailed examination in one field1      
namely1 that of art4 ,you will find1    
however1 one or two other remarks on    
such possibilities in the next note4    
99       99       99       99       99  
,note #bnd1 p4 #ba4--,right to public   
support4   #abg4 ,it did not appear to  
me desirable1 in the course of the      
spoken lecture1 to enter into details or
 offer suggestions on the questions of  
the regulation of labour and            
distribution of relief1 as it would have
 been impossible to do so without       
touching on many disputed or disputable 
points1 not easily handled before a     
general audience4 ,but ,i must now      
supply what is wanting to make my       
general statement clear4  ,i believe1 in
 the first place1 that no ,christian    
nation has any business to see one of   
its members in distress without helping 
him1 though1 perhaps1 at the same time  
punishing him3 help1 of course--in nine 
cases out of ten--meaning guidance1 much
 more than gift1 and1 therefore1        

interference with liberty4 ,when a      
peasant mother sees one of her careless 
children fall into a ditch1 her first   
proceeding is to pull him out2 her      
second1 to box his ears2 her third1     
ordinarily1 to lead him carefully a     
little way by the hand1 or send him home
 for the rest of the day4 ,the child    
usually cries1 and very often would     
clearly prefer remaining in the ditch2  
and if he understood any of the terms of
 politics1 would certainly express      
resentment at the interference with his 
individual liberty3 but the mother has  
done her duty4 ,whereas the usual call  
of the mother nation to any of her      
children1 under such circumstances1 has 
lately been nothing more than the       
foxhunter's1--,stay still there2 ,i     
shall clear you4 ,and if we always could
 clear them1 their requests to be left  
in muddy independence might be sometimes
 allowed by kind people1 or their cries 
for help disdained by unkind ones4 ,but 
we can't clear them4 ,the whole nation  

is1 in fact1 bound together1 as men are 
by ropes on a glacier--if one falls1 the
 rest must either lift him or drag him  
along with them#af as dead weight1 not  
without much increase of danger to      
themselves4 ,and the law of right being 
manifestly in this--as1 whether         
manifestly or not1 it is always1 the law
 of prudence--the only question is1 how 
this wholesome help and interference are
 to be administered4  ,note #af3 ,it is 
very curious to watch the efforts of two
 shop-keepers to ruin each other1       
neither having the least idea that his  
ruined neighbour must eventually be     
supported at his own expense1 with an   
increase of poor rates2 and that the    
contest between them is not in reality  
which shall get everything for himself1 
but which shall first take upon himself 
and his customers the gratuitous        
maintenance of the other's family4      
#abh4 ,the first interference should be 
in education4 ,in order that men may be 
able to support themselves when they are

 grown1 their strength must be properly 
developed while they are young2 and the 
,state should always see to this--not   
allowing their health to be broken by   
too early labour1 nor their powers to be
 wasted for want of knowledge4 ,some    
questions connected with this matter are
 noticed farther on under the head trial
 schools3 one point ,i must notice here1
 that ,i believe all youths1 of whatever
 rank1 ought to learn some manual trade 
thoroughly2 for it is quite wonderful   
how much a man's views of life are      
cleared by the attainment of the        
capacity of doing any one thing well    
with his hands and arms4 ,for a long    
time1 what right life there was in the  
upper classes of ,europe depended in no 
small degree on the necessity which each
 man was under of being able to fence2  
at this day1 the most useful things     
which boys learn at public schools are1 
,i believe1 riding1 rowing1 and         
cricketing4 ,but it would be far better 
that members of ,parliament should be   

able to plough straight1 and make a     
horseshoe1 than only to feather oars    
neatly or point their toes prettily in  
stirrups4 ,then1 in literary and        
scientific teaching1 the great point of 
economy is to give the discipline of it 
through knowledge which will immediately
 bear on practical life4 ,our literary  
work has long been economically useless 
to us because too much concerned with   
dead languages2 and our scientific work 
will yet1 for some time1 be a good deal 
lost1 because scientific men are too    
fond or too vain of their systems1 and  
waste the student's time in endeavouring
 to give him large views1 and make him  
perceive interesting connections of     
facts2 when there is not one student1   
no1 nor one man1 in a thousand1 who can 
feel the beauty of a system1 or even    
take it clearly into his head2 but      
nearly all men can understand1 and most 
will be interested in1 the facts which  
bear on daily life4 ,botanists have     
discovered some wonderful connection    

between nettles and figs1 which a cowboy
 who will never see a ripe fig in his   
life need not be at all troubled about2 
but it will be interesting to him to    
know what effect nettles have on hay1   
and what taste they will give to        
porridge2 and it will give him nearly a 
new life if he can be got but once1 in a
 spring time1 to look well at the       
beautiful circlet of white nettle       
blossom1 and work out with his          
schoolmaster the curves of its petals1  
and the way it is set on its central    
mast4 ,so1 the principle of chemical    
equivalents1 beautiful as it is1 matters
 far less to a peasant boy1 and even to 
most sons of gentlemen1 than their      
knowing how to find whether the water is
 wholesome in the back-kitchen cistern1 
or whether the seven-acre field wants   
sand or chalk4   #abi4 ,having1 then1   
directed the studies of our youth so as 
to make them practically serviceable men
 at the time of their entrance into     
life1 that entrance should always be    

ready for them in cases where their     
private circumstances present no        
opening4 ,there ought to be government  
establishments for every trade1 in which
 all youths who desired it should be    
received as apprentices on their leaving
 school2 and men thrown out of work     
received at all times4 ,at these        
government manufactories the discipline 
should be strict1 and the wages steady1 
not varying at all in proportion to the 
demand for the article1 but only in     
proportion to the price of food2 the    
commodities produced being laid up in   
store to meet sudden demands1 and sudden
 fluctuations in prices prevented3--that
 gradual and necessary fluctuation only 
being allowed which is properly         
consequent on larger or more limited    
supply of raw material and other natural
 causes4 ,when there was a visible      
tendency to produce a glut of any       
commodity1 that tendency should be      
checked by directing the youth at the   
government schools into other trades2   

and the yearly surplus of commodities   
should be the principal means of        
government provisions for the poor4     
,that provision should be large1 and not
 disgraceful to them4 ,at present there 
are very strange notions in the public  
mind respecting the receiving of alms3  
most people are willing to take them in 
the form of a pension from government1  
but unwilling to take them in the form  
of a pension from their parishes4 ,there
 may be some reason for this singular   
prejudice1 in the fact of the government
 pension being usually given as a       
definite acknowledgment of some service 
done to the country2--but the parish    
pension is1 or ought to be1 given       
precisely on the same terms4 ,a labourer
 serves his country with his spade1 just
 as a man in the middle ranks of life   
serves it with his sword1 pen1 or       
lancet3 if the service is less1 and     
therefore the wages during health less1 
then the reward1 when health is broken1 
may be less1 but not1 therefore1 less   

honourable2 and it ought to be quite as 
natural and straight-forward a matter   
for a labourer to take his pension from 
his parish1 because he has deserved well
 of his parish1 as for a man in higher  
rank to take his pension from his       
country1 because he has deserved well of
 his country4   #acj4 ,if there be any  
disgrace in coming to the parish1       
because it may imply improvidence in    
early life1 much more is there disgrace 
in coming to the government3 since      
improvidence is far less justifiable in 
a highly educated than in an imperfectly
 educated man2 and far less justifiable 
in a high rank1 where extravagance must 
have been luxury1 than in a low rank1   
where it may only have been comfort4 ,so
 that the real fact of the matter is1   
that people will take alms delightedly1 
consisting of a carriage and footmen1   
because those do not look like alms to  
the people in the street2 but they will 
not take alms consisting only of bread  
and water and coals1 because everybody  

would understand what those meant4      
,mind1 ,i do not want any one to refuse 
the carriage who ought to have it2 but  
neither do ,i want them to refuse the   
coals4 ,i should indeed be sorry if any 
change in our views on these subjects   
involved the least lessening of         
self-dependence in the ,english mind3   
but the common shrinking of men from the
 acceptance of public charity is not    
self-dependence1 but mere base and      
selfish pride4 ,it is not that they are 
unwilling to live at their neighbours'  
expense1 but that they are unwilling to 
confess they do3 it is not dependence   
they wish to avoid1 but gratitude4 ,they
 will take places in which they know    
there is nothing to be done--they will  
borrow money they know they cannot      
repay--they will carry on a losing      
business with other people's            
capital--they will cheat the public in  
their shops1 or sponge on their friends 
at their houses2 but to say plainly they
 are poor men1 who need the nation's    

help and go into an almshouse1--this    
they loftily repudiate1 and virtuously  
prefer being thieves to being paupers4  
#aca4 ,i trust that these deceptive     
efforts of dishonest men to appear      
independent1 and the agonizing efforts  
of unfortunate men to remain            
independent1 may both be in some degree 
checked by a better administration and  
understanding of laws respecting the    
poor4 ,but the ordinances for relief and
 the ordinances for labour must go      
together2 otherwise distress caused by  
misfortune will always be confounded1 as
 it is now1 with distress caused by     
idleness1 unthrift1 and fraud4 ,it is   
only when the ,state watches and guides 
the middle life of men1 that it can1    
without disgrace to them1 protect their 
old age1 acknowledging in that          
protection that they have done their    
duty1 or at least some portion of their 
duty1 in better days4  ,i know well how 
strange1 fanciful1 or impracticable     
these suggestions will appear to most of

 the business men of this day2 men who  
conceive the proper state of the world  
to be simply that of a vast and         
disorganized mob1 scrambling each for   
what he can get1 trampling down its     
children and old men in the mire1 and   
doing what work it finds must be done   
with any irregular squad of labourers it
 can bribe or inveigle together1 and    
afterwards scatter to starvation4 ,a    
great deal may1 indeed1 be done in this 
way by a nation strong-elbowed and      
strong-hearted as we are--not easily    
frightened by pushing1 nor discouraged  
by falls4 ,but it is still not the right
 way of doing things1 for people who    
call themselves ,christians4 ,every so  
named soul of man claims from every     
other such soul1 protection and         
education in childhood1--help or        
punishment in middle life1--reward or   
relief1 if needed1 in old age2 all of   
these should be completely and          
unstintingly given2 and they can only be
 given by the organization of such a    

system as ,i have described4         99 
99       99       99       99   ,note   
#crd1 p4 #bg4--,trial ,schools4   #acb4 
,it may be seriously questioned by the  
reader how much of painting talent we   
really lose on our present system1#ag   
and how much we should gain by the      
proposed trial schools4 ,for it might be
 thought that1 as matters stand at      
present1 we have more painters than we  
ought to have1 having so many bad ones1 
and that all youths who had true        
painters' genius forced their way out of
 obscurity4  ,note #ag3 ,it will be     
observed that1 in the lecture1 it is    
assumed that works of art are national  
treasures2 and that it is desirable to  
withdraw all the hands capable of       
painting or carving from other          
employments1 in order that they may     
produce this kind of wealth4 ,i do not1 
in assuming this1 mean that works of art
 add to the monetary resources of a     
nation1 or form part of its wealth1 in  
the vulgar sense4 ,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 ,b1 the  
purchaser1 to those of ,a1 the producer2
 the sum ultimately to be distributed   
remaining the same1 only ,a ultimately  
spending it instead of ,b1 while the    
labour of ,a has been in the meantime   
withdrawn from productive channels2 he  
has painted a picture which nobody can  
live upon1 or live in1 when he might    
have grown corn or built houses3 when   
the sale therefore is effected in the   
country itself1 it does not add to1 but 
diminishes1 the monetary resources of   
the country1 except only so far as it   
may appear probable1 on other grounds1  
that ,a is likely to spend the sum he   
receives for his picture more rationally
 and usefully than ,b would have spent  
it4 ,if1 indeed1 the picture1 or other  
work of art1 be sold in foreign         
countries1 either the money or the      
useful products of the foreign country  
being imported in exchange for it1 such 

sale adds to the monetary resources of  
the selling1 and diminishes those of the
 purchasing nation4 ,but sound political
 economy1 strange as it may at first    
appear to say so1 has nothing whatever  
to do with separations between national 
interests4 ,political economy means the 
management of the affairs of citizens2  
and it either regards exclusively the   
administration of the affairs of one    
nation1 or the administration of the    
affairs of the world considered as one  
nation4 ,so when a transaction between  
individuals which enriches ,a           
impoverishes ,b in precisely the same   
degree1 the sound economist considers it
 an unproductive transaction between the
 individuals2 and if a trade between two
 nations which enriches one1            
impoverishes the other in the same      
degree1 the sound economist considers it
 an unproductive trade between the      
nations4 ,it is not a general question  
of political economy1 but only a        
particular question of local expediency1

 whether an article1 in itself          
valueless1 may bear a value of exchange 
in transactions with some other nation4 
,the economist considers only the actual
 value of the thing done or produced2   
and if he sees a quantity of labour     
spent1 for instance1 by the ,swiss1 in  
producing woodwork for sale to the      
,english1 he at once sets the commercial
 impoverishment of the ,english         
purchaser against the commercial        
enrichment of the ,swiss seller2 and    
considers the whole transaction         
productive only as far as the woodwork  
itself is a real addition to the wealth 
of the world4 ,for the arrangement of   
the laws of a nation so as to procure   
the greatest advantages to itself1 and  
leave the smallest advantages to other  
nations1 is not a part of the science of
 political economy1 but merely a broad  
application of the science of fraud4    
,considered thus in the abstract1       
pictures are not an addition to the     
monetary wealth of the world1 except in 

the amount of pleasure or instruction to
 be got out of them day by day3 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 value4 ,generally     
speaking1 persons who decorate their    
houses with pictures will not spend so  
much money in papers1 carpets1 curtains1
 or other expensive and perishable      
luxuries as they would otherwise4 ,works
 of good art1 like books1 exercise a    
conservative effect on the rooms they   
are kept in2 and the wall of the library
 or picture gallery remains undisturbed1
 when those of other rooms are repapered
 or re-panelled4 ,of course this effect 
is still more definite when the picture 
is on the walls themselves1 either on   
canvas stretched into fixed shapes on   
their panels1 or in fresco2 involving1  
of course1 the preservation of the      
building from all unnecessary and       
capricious alteration4 ,and1 generally  
speaking1 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 luxury4 ,i do not1
 however1 in my assumption that works of
 art are treasures1 take much into      
consideration this collateral monetary  
result4 ,i consider them treasures1     
merely as permanent means of pleasure   
and instruction2 and having at other    
times tried to show the several ways in 
which they can please and teach1 assume 
here that they are thus useful1 and that
 it is desirable to make as many        
painters as we can4  ,this is not so4   
,it is difficult to analyse the         
characters of mind which cause youths to
 mistake their vocation1 and to         
endeavour to become artists1 when they  
have no true artist's gift4 ,but the    
fact is1 that multitudes of young men do
 this1 and that by far the greater      
number of living artists are men who    
have mistaken their vocation4 ,the      
peculiar circumstances of modern life1  

which exhibit art in almost every form  
to the sight of the youths in our great 
cities1 have a natural tendency to fill 
their imaginations with borrowed ideas1 
and their minds with imperfect science2 
the mere dislike of mechanical          
employments1 either felt to be irksome1 
or believed to be degrading1 urges      
numbers of young men to become painters1
 in the same temper in which they would 
enlist or go to sea2 others1 the sons of
 engravers or artists1 taught the       
business of the art by their parents1   
and having no gift for it themselves1   
follow it as the means of livelihood1 in
 an ignoble patience2 or1 if ambitious1 
seek to attract regard1 or distance     
rivalry1 by fantastic1 meretricious1 or 
unprecedented applications of their     
mechanical skill2 while finally1 many   
men1 earnest in feeling1 and            
conscientious in principle1 mistake     
their desire to be useful for a love of 
art1 and their quickness of emotion for 
its capacity1 and pass their lives in   

painting moral and instructive pictures1
 which might almost justify us in       
thinking nobody could be a painter but a
 rogue4 ,on the other hand1 ,i believe  
that much of the best artistical        
intellect is daily lost in other        
avocations4 ,generally1 the temper which
 would make an admirable artist is      
humble and observant1 capable of taking 
much interest in little things1 and of  
entertaining itself pleasantly in the   
dullest circumstances4 ,suppose1 added  
to these characters1 a steady           
conscientiousness which seeks to do its 
duty wherever it may be placed1 and the 
power1 denied to few artistical minds1  
of ingenious invention in almost any    
practical department of human skill1 and
 it can hardly be doubted that the very 
humility and conscientiousness which    
would have perfected the painter1 have  
in many instances prevented his becoming
 one2 and that in the quiet life of our 
steady craftsmen--sagacious             
manufacturers1 and uncomplaining        

clerks--there may frequently be         
concealed more genius than ever is      
raised to the direction of our public   
works1 or to be the mark of our public  
praises4   #acc4 ,it is indeed probable1
 that intense disposition for art will  
conquer the most formidable obstacles1  
if the surrounding circumstances are    
such as at all to present the idea of   
such conquest to the mind2 but we have  
no ground for concluding that ,giotto   
would ever have been more than a        
shepherd1 if ,cimabue had not by chance 
found him drawing2 or that among the    
shepherds of the ,apennines there were  
no other ,giottos1 undiscovered by      
,cimabue4 ,we are too much in the habit 
of considering happy accidents as what  
are called 'special ,providences'2 and  
thinking that when any great work needs 
to be done1 the man who is to do it will
 certainly be pointed out by            
,providence1 be he shepherd or seaboy2  
and prepared for his work by all kinds  
of minor providences1 in the best       

possible way4 ,whereas all the analogies
 of ,god's operations in other matters  
prove the contrary of this2 we find that
 of thousand seeds1 ,he often brings but
 one to bear1 often not one2 and the one
 seed which ,he appoints to bear is     
allowed to bear crude or perfect fruit  
according to the dealings of the        
husbandman with it4 ,and there cannot be
 a doubt in the mind of any person      
accustomed to take broad and logical    
views of the world's history1 that its  
events are ruled by ,providence in      
precisely the same manner as its        
harvests2 that the seeds of good and    
evil are broadcast among men1 just as   
the seeds of thistles and fruits are2   
and that according to the force of our  
industry1 and wisdom of our husbandry1  
the ground will bring forth to us figs  
or thistles4 ,so that when it seems     
needed that a certain work should be    
done for the world1 and no man is there 
to do it1 we have no right to say that  
,god did not wish it to be done2 and    

therefore sent no men able to do it4    
,the probability 7if ,i wrote my own    
convictions1 ,i should say certainty7   
is1 that ,he sent many men1 hundreds of 
men1 able to do it2 and that we have    
rejected them1 or crushed them2 by our  
previous folly of conduct or of         
institution1 we have rendered it        
impossible to distinguish1 or impossible
 to reach them2 and when the need for   
them comes1 and we suffer for the want  
of them1 it is not that ,god refuses to 
send us deliverers1 and specially       
appoints all our consequent sufferings2 
but that ,he has sent1 and we have      
refused1 the deliverers2 and the pain is
 then wrought out by ,his eternal law1  
as surely as famine is wrought out by   
eternal law for a nation which will     
neither plough nor sow4 ,no less are we 
in error in supposing1 as we so         
frequently do1 that if a man be found1  
he is sure to be in all respects fitted 
for the work to be done1 as the key is  
to the lock3 and that every accident    

which happened in the forging him1 only 
adapted him more truly to the wards4 ,it
 is pitiful to hear historians beguiling
 themselves and their readers1 by       
tracing in the early history of great   
men the minor circumstances which fitted
 them for the work they did1 without    
ever taking notice of the other         
circumstances which as assuredly        
unfitted them for it2 so concluding that
 miraculous interposition prepared them 
in all points for everything1 and that  
they did all that could have been       
desired or hoped for from them2 whereas 
the certainty of the matter is that1    
throughout their lives1 they were       
thwarted and corrupted by some things as
 certainly as they were helped and      
disciplined by others2 and that1 in the 
kindliest and most reverent view which  
can justly be taken of them1 they were  
but poor mistaken creatures1 struggling 
with a world more profoundly mistaken   
than they2--assuredly sinned against or 
sinning in thousands of ways1 and       

bringing out at last a maimed           
result--not what they might or ought to 
have done1 but all that could be done   
against the world's resistance1 and in  
spite of their own sorrowful falsehood  
to themselves4   #acd4 ,and this being  
so1 it is the practical duty of a wise  
nation1 first to withdraw1 as far as may
 be1 its youth from destructive         
influences2--then to try its material as
 far as possible1 and to lose the use of
 none that is good4 ,i do not mean by   
withdrawing from destructive influences 
the keeping of youths out of trials2 but
 the keeping them out of the way of     
things purely and absolutely            
mischievous4 ,i do not mean that we     
should shade our green corn in all heat1
 and shelter it in all frost1 but only  
that we should dyke out the inundation  
from it1 and drive the fowls away from  
it4 ,let your youth labour and suffer2  
but do not let it starve1 nor steal1 nor
 blaspheme4   #ace4 ,it is not1 of      
course1 in my power here to enter into  

details of schemes of education2 and it 
will be long before the results of      
experiments now in progress will give   
data for the solution of the most       
difficult questions connected with the  
subject1 of which the principal one is  
the mode in which the chance of         
advancement in life is to be extended to
 all1 and yet made compatible with      
contentment in the pursuit of lower     
avocations by those whose abilities do  
not qualify them for the higher4 ,but   
the general principle of trial schools  
lies at the root of the matter--of      
schools1 that is to say1 in which the   
knowledge offered and discipline        
enforced shall be all a part of a great 
assay of the human soul1 and in which   
the one shall be increased1 the other   
directed1 as the tried heart and brain  
will best bear1 and no otherwise4 ,one  
thing1 however1 ,i must say1 that in    
this trial ,i believe all emulation to  
be a false motive1 and all giving of    
prizes a false means4 ,all that you can 

depend upon in a boy1 as significative  
of true power1 likely to issue in good  
fruit1 is his will to work for the      
work's sake1 not his desire to surpass  
his school-fellows2 and the aim of the  
teaching you give him ought to be1 to   
prove to him and strengthen in him his  
own separate gift1 not to puff him into 
swollen rivalry with those who are      
everlastingly greater than he3 still    
less ought you to hang favours and      
ribands about the neck of the creature  
who is the greatest1 to make the rest   
envy him4 ,try to make them love him and
 follow him1 not struggle with him4     
#acf4 ,there must1 of course1 be        
examination to ascertain and attest both
 progress and relative capacity2 but our
 aim should be to make the students     
rather look upon it as a means of       
ascertaining their own true positions   
and powers in the world1 than as an     
arena in which to carry away a present  
victory4 ,i have not1 perhaps1 in the   
course of the lecture1 insisted enough  

on the nature of relative capacity and  
individual character1 as the roots of   
all real value in ,art4 ,we are too much
 in the habit1 in these days1 of acting 
as if ,art worth a price in the market  
were a commodity which people could be  
generally taught to produce1 and as if  
the education of the artist1 not his    
capacity1 gave the sterling value to his
 work4 ,no impression can possibly be   
more absurd or false4 ,whatever people  
can teach each other to do1 they will   
estimate1 and ought to estimate1 only as
 common industry2 nothing will ever     
fetch a high price but precisely that   
which cannot be taught1 and which nobody
 can do but the man from whom it is     
purchased4 ,no state of society1 nor    
stage of knowledge1 ever does away with 
the natural pre-eminence of one man over
 another2 and it is that pre-eminence1  
and that only1 which will give work high
 value in the market1 or which ought to 
do so4 ,it is a bad sign of the         
judgment1 and bad omen for the progress1

 of a nation1 if it supposes itself to  
possess many artists of equal merit4    
,noble art is nothing less than the     
expression of a great soul2 and great   
souls are not common things4 ,if ever we
 confound their work with that of       
others1 it is not through liberality1   
but through blindness4         99       
99       99       99       99   ,note   
#dth1 p4 #bh4--,public favour4   #acg4  
,there is great difficulty in making any
 short or general statement of the      
difference between great and ignoble    
minds in their behaviour to the         
'public4' ,it is by no means universally
 the case that a mean mind1 as stated in
 the text1 will bend itself to what you 
ask of it3 on the contrary1 there is one
 kind of mind1 the meanest of all1 which
 perpetually complains of the public1   
and contemplates and proclaims itself as
 a 'genius1' refuses all wholesome      
discipline or humble office1 and ends in
 miserable and revengeful ruin2 also1   
the greatest minds are marked by nothing

 more distinctly than an inconceivable  
humility1 and acceptance of work or     
instruction in any form1 and from any   
quarter4 ,they will learn from          
everybody1 and do anything that anybody 
asks of them1 so long as it involves    
only toil1 or what other men would think
 degradation4 ,but the point of quarrel1
 nevertheless1 assuredly rises some day 
between the public and them1 respecting 
some matter1 not of humiliation1 but of 
,fact4 ,your great man always at last   
comes to see something the public don't 
see4 ,this something he will assuredly  
persist in asserting1 whether with      
tongue or pencil1 to be as he sees it1  
not as they see it2 and all the world in
 a heap on the other side1 will not get 
him to say otherwise4 ,then1 if the     
world objects to the saying1 he may     
happen to get stoned or burnt for it1   
but that does not in the least matter to
 him2 if the world has no particular    
objection to the saying1 he may get     
leave to mutter it to himself till he   

dies1 and be merely taken for an idiot2 
that also does not matter to him--mutter
 it he will1 according to what he       
perceives to be fact1 and not at all    
according to the roaring of the walls of
 ,red ,sea on the right hand or left of 
him4 ,hence the quarrel1 sure at some   
time or other to be started between the 
public and him2 while your mean man1    
though he will spit and scratch         
spiritedly at the public1 while it does 
not attend to him1 will bow to it for   
its clap in any direction1 and say      
anything when he has got its ear1 which 
he thinks will bring him another clap2  
and thus1 as stated in the text1 he and 
it go on smoothly together4  ,there are1
 however1 times when the obstinacy of   
the mean man looks very like the        
obstinacy of the great one2 but if you  
look closely into the matter1 you will  
always see that the obstinacy of the    
first is in the pronunciation of ,i2 and
 of the second1 in the pronunciation of 
,it4         99       99       99       

99       99   ,note #eth1 p4            
#ef4--;,invention of new wants4   #ach4 
,it would have been impossible for      
political economists long to have       
endured the error spoken of in the      
text1#ah had they not been confused by  
an idea1 in part well founded1 that the 
energies and refinements1 as well as the
 riches of civilised life1 arose from   
imaginary wants4 ,it is quite true1 that
 the savage who knows no needs but those
 of food1 shelter1 and sleep1 and after 
he has snared his venison and patched   
the rents of his hut1 passes the rest of
 his time in animal repose1 is in a     
lower state than the man who labours    
incessantly that he may procure for     
himself the luxuries of civilisation2   
and true also1 that the difference      
between one and another nation in       
progressive power depends in great part 
on vain desires2 but these idle motives 
are merely to be considered as giving   
exercise to the national body and mind2 
they are not sources of wealth1 except  

so far as they give the habits of       
industry and acquisitiveness4 ,if a boy 
is clumsy and lazy1 we shall do good if 
we can persuade him to carve            
cherry-stones and fly kites2 and this   
use of his fingers and limbs may        
eventually be the cause of his becoming 
a wealthy and happy man2 but we must not
 therefore argue that cherry-stones are 
valuable property1 or that kite-flying  
is a profitable mode of passing time4   
,in like manner1 a nation always wastes 
its time and labour directly1 when it   
invents a new want of a frivolous kind1 
and yet the invention of such a want may
 be the sign of a healthy activity1 and 
the labour undergone to satisfy the new 
want may lead1 indirectly1 to useful    
discoveries or to noble arts2 so that a 
nation is not to be discouraged in its  
fancies when it is either too weak or   
foolish to be moved to exertion by      
anything but fancies1 or has attended to
 its serious business first4 ,if a      
nation will not forge iron1 but likes   

distilling lavender1 by all means give  
it lavender to distil2 only do not let  
its economists suppose that lavender is 
as profitable to it as oats1 or that it 
helps poor people to live1 any more than
 the schoolboy's kite provides him his  
dinner4 ,luxuries1 whether national or  
personal1 must be paid for by labour    
withdrawn from useful things2 and no    
nation has a right to indulge in them   
until all its poor are comfortably      
housed and fed4  ,note #ah3 ,i have     
given the political economist too much  
credit in saying this4 ,actually1 while 
these sheets are passing through the    
press1 the blunt1 broad1 unmitigated    
fallacy is enunciated1 formally and     
precisely1 by the common councilmen of  
,new ,york1 in their report on the      
present commercial crisis4 ,here is     
their collective opinion1 published in  
the ,times of ,november #bcrd1          
#aheg3--;,another erroneous idea is that
 luxurious living1 extravagant dressing1
 splendid turn-outs and fine houses1 are

 the cause of distress to a nation4 ,no 
more erroneous impression could exist4  
,every extravagance that the man of     
#ajj1jjj or #a1jjj1jjj dollars indulges 
in adds to the means1 the support1 the  
wealth of ten or a hundred who had      
little or nothing else but their labour1
 their intellect1 or their taste4 ,if a 
man of #a1jjj1jjj dollars spends        
principal and interest in ten years1 and
 finds himself beggared at the end of   
that time1 he has actually made a       
hundred who have catered to his         
extravagance1 employers or employed1 so 
much richer by the division of his      
wealth4 ,he may be ruined1 but the      
nation is better off and richer1 for one
 hundred minds and hands1 with #aj1jjj  
dollars apiece1 are far more productive 
than one with the whole4  ,yes1         
gentlemen of the common council2 but    
what has been doing in the time of the  
transfer8 ,the spending of the fortune  
has taken a certain number of years     
7suppose ten71 and during that time     

#a1jjj1jjj dollars' worth of work has   
been done by the people1 who have been  
paid that sum for it4 ,where is the     
product of that work8 ,by your own      
statements1 wholly consumed2 for the man
 for whom it has been done is now a     
beggar4 ,you have given therefore1 as a 
nation1 #a1jjj1jjj dollars' worth of    
work1 and ten years of time1 and you    
have produced1 as ultimate result1 one  
beggar4 ,excellent economy1 gentlemen6  
and sure to conduce1 in due sequence1 to
 the production of more than one beggar4
 ,perhaps the matter may be made clearer
 to you1 however1 by a more familiar    
instance4 ,if a schoolboy goes out in   
the morning with five shillings in his  
pocket1 and comes home penniless1 having
 spent his all in tarts1 principal and  
interest are gone1 and fruiterer and    
baker are enriched4 ,so far so good4    
,but suppose the schoolboy1 instead1 has
 bought a book and a knife2 principal   
and interest are gone1 and book-seller  
and cutler are enriched4 ,but the       

schoolboy is enriched also1 and may help
 his school-fellows next day with knife 
and book1 instead of lying in bed and   
incurring a debt to the doctor4   #aci4 
,the enervating influence of luxury1 and
 its tendencies to increase vice1 are   
points which ,i keep entirely out of    
consideration in the present essay2 but1
 so far as they bear on any question    
discussed1 they merely furnish          
additional evidence on the side which ,i
 have taken4 ,thus1 in the present case1
 ,i assume that the luxuries of         
civilized life are in possession        
harmless1 and in acquirement serviceable
 as a motive for exertion2 and even on  
those favourable terms1 we arrive at the
 conclusion that the nation ought not to
 indulge in them except under severe    
limitations4 ,much less ought it to     
indulge in them if the temptation       
consequent on their possession1 or      
fatality incident to their manufacture1 
more than counter-balances the good done
 by the effort to obtain them4          

99       99       99       99       99  
,note #fth1 p4 #gd4--;,economy of       
literature4   #adj4 ,i have been much   
impressed lately by one of the results  
of the quantity of our books2 namely1   
the stern impossibility of getting      
anything understood1 that required      
patience to understand4 ,i observe      
always1 in the case of my own writings1 
that if ever ,i state anything which has
 cost me any trouble to ascertain1 and  
which1 therefore1 will probably require 
a minute or two of reflection from the  
reader before it can be accepted1--that 
statement will not only be              
misunderstood1 but in all probability   
taken to mean something very nearly the 
reverse of what it does mean4 ,now1     
whatever faults there may be in my modes
 of expression1 ,i know that the words  
,i use will always be found1 by         
,johnson's dictionary1 to bear1 first of
 all1 the sense ,i use them in2 and that
 the sentences1 whether awkwardly turned
 or not1 will1 by the ordinary rules of 

grammar1 bear no other interpretation   
than that ,i mean them to bear2 so that 
the misunderstanding of them must       
result1 ultimately1 from the mere fact  
that their matter sometimes requires a  
little patience4 ,and ,i see the same   
kind of misinterpretation put on the    
words of other writers1 whenever they   
require the same kind of thought4       
#ada4 ,i was at first a little          
despondent about this2 but1 on the      
whole1 ,i believe it will have a good   
effect upon our literature for some time
 to come2 and then1 perhaps1 the public 
may recover its patience again4 ,for    
certainly it is excellent discipline for
 an author to feel that he must say all 
he has to say in the fewest possible    
words1 or his reader is sure to skip    
them2 and in the plainest possible      
words1 or his reader will certainly     
misunderstand them4 ,generally1 also1 a 
downright fact may be told in a plain   
way2 and we want downright facts at     
present more than anything else4 ,and   

though ,i often hear moral people       
complaining of the bad effects of want  
of thought1 for my part1 it seems to me 
that one of the worst diseases to which 
the human creature is liable is its     
disease of thinking4 ,if it would only  
just look#ai at a thing instead of      
thinking what it must be like1 or do a  
thing instead of thinking it cannot be  
done1 we should all get on far better4  
,note #ai3 ,there can be no question1   
however1 of the mischievous tendency of 
the hurry of the present day1 in the way
 people undertake this very looking4 ,i 
gave three years' close and incessant   
labour to the examination of the        
chronology of the architecture of       
,venice2 two long winters being wholly  
spent in the drawing of details on the  
spot2 and yet ,i see constantly that    
architects who pass three or four days  
in a gondola going up and down the      
,grand ,canal1 think that their first   
impressions are just as likely to be    
true as my patiently wrought            

conclusions4 ,mr4 ,street1 for instance1
 glances hastily at the faade of the    
,ducal ,palace--so hastily that he does 
not even see what its pattern is1 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 capitals1 which is
 one of the most complicated and        
difficult subjects in the whole range of
 ,gothic archology4 ,it may1            
nevertheless1 be ascertained with very  
fair probability of correctness by any  
person who will give a month's hard work
 to it1 but it can be ascertained no    
otherwise4         99       99       99 
99       99   ,note #gth1 p4            
#adg4--,pilots of the ,state4   #adb4   
,while1 however1 undoubtedly1 these     
responsibilities attach to every person 
possessed of wealth1 it is necessary    
both to avoid any stringency of         
statement respecting the benevolent     
modes of spending money1 and to admit   
and approve so much liberty of spending 

it for selfish pleasures as may         
distinctly make wealth a personal reward
 for toil1 and secure in the minds of   
all men the right of property4 ,for     
although1 without doubt1 the purest     
pleasures it can procure are not        
selfish1 it is only as a means of       
personal gratification that it will be  
desired by a large majority of workers2 
and it would be no less false ethics    
than false policy to check their energy 
by any forms of public opinion which    
bore hardly against the wanton          
expenditure of honestly got wealth4 ,it 
would be hard if a man who has passed   
the greater part of his life at the desk
 or counter could not at last innocently
 gratify a caprice2 and all the best and
 most sacred ends of almsgiving would be
 at once disappointed1 if the idea of a 
moral claim took the place of           
affectionate gratitude in the mind of   
the receiver4   #adc4 ,some distinction 
is made by us naturally in this respect 
between earned and inherited wealth2    

that which is inherited appearing to    
involve the most definite               
responsibilities1 especially when       
consisting in revenues derived from the 
soil4 ,the form of taxation which       
constitutes rental of lands places      
annually a certain portion of the       
national wealth in the hands of the     
nobles1 or other proprietors of the     
soil1 under conditions peculiarly       
calculated to induce them to give their 
best care to its efficient              
administration4 ,the want of instruction
 in even the simplest principles of     
commerce and economy1 which hitherto has
 disgraced our schools and universities1
 has indeed been the cause of ruin or   
total inutility of life to multitudes of
 our men of estate2 but this deficiency 
in our public education cannot exist    
much longer1 and it appears to be highly
 advantageous for the ,state that a     
certain number of persons distinguished 
by race should be permitted to set      
examples of wise expenditure1 whether in

 the advancement of science1 or in      
patronage of art and literature2 only   
they must see to it that they take their
 right standing more firmly than they   
have done hitherto1 for the position of 
a rich man in relation to those around  
him is1 in our present real life1 and is
 also contemplated generally by         
political economists as being1 precisely
 the reverse of what it ought to be4 ,a 
rich man ought to be continually        
examining how he may spend his money for
 the advantage of others3 at present1   
others are continually plotting how they
 may beguile him into spending it       
apparently for his own4 ,the aspect     
which he presents to the eyes of the    
world is generally that of a person     
holding a bag of money with a staunch   
grasp1 and resolved to part with none of
 it unless he is forced1 and all the    
people about him are plotting how they  
may force him3 that is to say1 how they 
may persuade him that he wants this     
thing or that2 or how they may produce  

things that he will covet and buy4 ,one 
man tries to persuade him that he wants 
perfumes2 another that he wants         
jewellery2 another that he wants        
sugarplums2 another that he wants roses 
at ,christmas4 ,anybody who can invent a
 new want for him is supposed to be a   
benefactor to society3 and thus the     
energies of the poorer people about him 
are continually directed to the         
production of covetable1 instead of     
serviceable1 things2 and the rich man   
has the general aspect of a fool1       
plotted against by the world4 ,whereas  
the real aspect which he ought to have  
is that of a person wiser than others1  
entrusted with the management of a      
larger quantity of capital1 which he    
administers for the profit of all1      
directing each man to the labour which  
is most healthy for him1 and most       
serviceable for the community4          
99       99       99       99       99  
,note #hth1 p4 #adh4--,silk and purple4 
#add4 ,in various places throughout     

these lectures ,i have had to allude to 
the distinction between productive and  
unproductive labour1 and between true   
and false wealth4 ,i shall here         
endeavour1 as clearly as ,i can1 to     
explain the distinction ,i mean4        
,property may be divided generally into 
two kinds2 that which produces life1 and
 that which produces the objects of     
life4 ,that which produces or maintains 
life consists of food1 in so far as it  
is nourishing2 of furniture and         
clothing1 in so far as they are         
protective or cherishing2 of fuel2 and  
of all land1 instruments1 or materials  
necessary to produce food1 houses1      
clothes1 and fuel4 ,it is specially and 
rightly called useful property4  ,the   
property which produces the objects of  
life consists of all that gives pleasure
 or suggests and preserves thought3 of  
food1 furniture1 and land1 in so far as 
they are pleasing to the appetite or the
 eye2 of luxurious dress1 and all other 
kinds of luxuries2 of books1 pictures1  

and architecture4 ,but the modes of     
connection of certain minor forms of    
property with human labour render it    
desirable to arrange them under more    
than these two heads4 ,property may     
therefore be conveniently considered as 
of five kinds4   #ade4 7#a7 ,property   
necessary to life1 but not producible by
 labour1 and therefore belonging of     
right1 in a due measure1 to every human 
being as soon as he is born1 and morally
 inalienable4 ,as for instance1 his     
proper share of the atmosphere1 without 
which he cannot breathe1 and of water1  
which he needs to quench his thirst4 ,as
 much land as he needs to feed from is  
also inalienable2 but in well-regulated 
communities this quantity of land may   
often be represented by other           
possessions1 or its need supplied by    
wages and privileges4  7#b7 ,property   
necessary to life1 but only producible  
by labour1 and of which the possession  
is morally connected with labour1 so    
that no person capable of doing the work

 necessary for its production has a     
right to it until he has done that      
work2--he that will not work1 neither   
should he eat4 ,it consists of simple   
food1 clothing1 and habitation1 with    
their seeds and materials1 or           
instruments and machinery1 and animals  
used for necessary draught or           
locomotion1 etc4 ,it is to be observed  
of this kind of property1 that its      
increase cannot usually be carried      
beyond a certain point1 because it      
depends not on labour only1 but on      
things of which the supply is limited by
 nature4 ,the possible accumulation of  
corn depends on the quantity of         
corn-growing land possessed or          
commercially accessible2 and that of    
steel1 similarly on the accessible      
quantity of coal and iron-stone4 ,it    
follows from this natural limitation of 
supply that the accumulation of property
 of this kind in large masses at one    
point1 or in one person's hands1        
commonly involves1 more or less1 the    

scarcity of it at another point and in  
other persons' hands2 so that the       
accidents or energies which may enable  
one man to procure a great deal of it1  
may1 and in all likelihood will1        
partially prevent other men procuring a 
sufficiency of it1 however willing they 
may be to work for it2 therefore1 the   
modes of its accumulation and           
distribution need to be in some degree  
regulated by law and by national        
treaties1 in order to secure justice to 
all men4  ,another point requiring      
notice respecting this sort of property 
is1 that no work can be wasted in       
producing it1 provided only the kind of 
it produced be preservable and          
distributable1 since for every grain of 
such commodities we produce we are      
rendering so much more life possible on 
earth4#bj ,but though we are sure1 thus1
 that we are employing people well1 we  
cannot be sure we might not have        
employed them better2 for it is possible
 to direct labour to the production of  

life1 until little or none is left for  
that of the objects of life1 and thus to
 increase population at the expense of  
civilization1 learning1 and morality3 on
 the other hand1 it is just as          
possible--and the error is one to which 
the world is1 on the whole1 more        
liable--to direct labour to the objects 
of life till too little is left for     
life1 and thus to increase luxury or    
learning at the expense of population4  
,right political economy holds its aim  
poised justly between the two extremes1 
desiring neither to crowd its dominions 
with a race of savages1 nor to found    
courts and colleges in the midst of a   
desert4  ,note #bj3 ,this point has     
sometimes been disputed2 for instance1  
opening ,mill's ',political ,economy'   
the other day1 ,i chanced on a passage  
in which he says that a man who makes a 
coat1 if the person who wears the coat  
does nothing useful while he wears it1  
has done no more good to society than   
the man who has only raised a pineapple4

 ,but this is a fallacy induced by      
endeavour after too much subtlety4 ,none
 of us have a right to say that the life
 of a man is of no use to him1 though it
 may be of no use to us2 and the man who
 made the coat1 and thereby prolonged   
another man's life1 has done a gracious 
and useful work1 whatever may come of   
the life so prolonged4 ,we may say to   
the wearer of the coat1 ,you who are    
wearing coats1 and doing nothing in     
them1 are at present wasting your own   
life and other people's2 but we have no 
right to say that his existence1 however
 wasted1 is wasted away4 ,it may be just
 dragging itself on1 in its thin golden 
line1 with nothing dependent upon it1 to
 the point where it is to strengthen    
into good chain cable1 and have         
thousands of other lives dependent on   
it4 ,meantime1 the simple fact          
respecting the coat-maker is1 that he   
has given so much life to the creature1 
the results of which he cannot          
calculate2 they may be--in all          

probability will be--infinite results in
 some way4 ,but the raiser of pines1 who
 has only given a pleasant taste in the 
mouth to some one1 may see with         
tolerable clearness to the end of the   
taste in the mouth1 and of all          
conceivable results therefrom4   #adf4  
7#c7 ,the third kind of property is that
 which conduces to bodily pleasures and 
conveniences1 without directly tending  
to sustain life2 perhaps sometimes      
indirectly tending to destroy it4 ,all  
dainty 7as distinguished from           
nourishing7 food1 and means of producing
 it2 all scents not needed for health2  
substances valued only for their        
appearance and rarity 7as gold and      
jewels72 flowers of difficult culture2  
animals used for delight 7as horses for 
racing71 and such like1 form property of
 this class2 to which the term 'luxury1'
 or 'luxuries1' ought exclusively to    
belong4  ,respecting which we have to   
note1 first1 that all such property is  
of doubtful advantage even to its       

possessor4 ,furniture tempting to       
indolence1 sweet odours1 and luscious   
food1 are more or less injurious to     
health3 while jewels1 liveries1 and     
other such common belongings of wealthy 
people1 certainly convey no pleasure to 
their owners proportionate to their     
cost4  ,farther1 such property1 for the 
most part1 perishes in the using4       
,jewels form a great exception--but rich
 food1 fine dresses1 horses and         
carriages1 are consumed by the owner's  
use4 ,it ought much oftener to be       
brought to the notice of rich men what  
sums of interest of money they are      
paying towards the close of their lives1
 for luxuries consumed in the middle of 
them4 ,it would be very interesting1 for
 instance1 to know the exact sum which  
the money spent in ,london for ices1 at 
its desserts and balls1 during the last 
twenty years1 had it been saved and put 
out at compound interest1 would at this 
moment have furnished for useful        
purposes4  ,also1 in most cases1 the    

enjoyment of such property is wholly    
selfish1 and limited to its possessor4  
,splendid dress and equipage1 however1  
when so arranged as to produce real     
beauty of effect1 may often be rather a 
generous than a selfish channel of      
expenditure4 ,they will1 however1       
necessarily in such cases involve some  
of the arts of design2 and therefore    
take their place in a higher category   
than that of luxuries merely4   #adg4   
7#d7 ,the fourth kind of property is    
that which bestows intellectual or      
emotional pleasure1 consisting of land  
set apart for purposes of delight more  
than for agriculture1 of books1 works of
 art1 and objects of natural history4   
,it is1 of course1 impossible to fix an 
accurate limit between property of the  
last class and of this class1 since     
things which are a mere luxury to one   
person are a means of intellectual      
occupation to another4 ,flowers in a    
,london ball-room are a luxury2 in a    
botanical garden1 a delight of the      

intellect2 and in their native fields1  
both2 while the most noble works of art 
are continually made material of vulgar 
luxury or of criminal pride2 but1 when  
rightly used1 property of this fourth   
class is the only kind which deserves   
the name of real property1 it is the    
only kind which a man can truly be said 
to 'possess4' ,what a man eats1 or      
drinks1 or wears1 so long as it is only 
what is needful for life1 can no more be
 thought of as his possession than the  
air he breathes4 ,the air is as needful 
to him as the food2 but we do not talk  
of a man's wealth of air1 and what food 
or clothing a man possesses more than he
 himself requires must be for others to 
use 7and1 to him1 therefore1 not a real 
property in itself1 but only a means of 
obtaining some real property in exchange
 for it74 ,whereas the things that give 
intellectual or emotional enjoyment may 
be accumulated1 and do not perish in    
using2 but continually supply new       
pleasures and new powers of giving      

pleasures to others4 ,and these1        
therefore1 are the only things which can
 rightly be thought of as giving        
'wealth' or 'well being4' ,food conduces
 only to 'being1' but these to 'well    
being4' ,and there is not any broader   
general distinction between lower and   
higher orders of men than rests on their
 possession of this real property4 ,the 
human race may be properly divided by   
zoologists into men who have gardens1   
libraries1 or works of art2 and those   
who have none2 and the former class will
 include all noble persons1 except only 
a few who make the world their garden or
 museum2 while the people who have not1 
or1 which is the same thing1 do not care
 for gardens or libraries1 but care for 
nothing but money or luxuries1 will     
include none but ignoble persons3 only  
it is necessary to understand that ,i   
mean by the term 'garden' as much the   
,carthusian's plot of ground fifteen    
feet square between his monastery       
buttresses1 as ,i do the grounds of     

,chatsworth or ,kew2 and ,i mean by the 
term 'art' as much the old sailor's     
print of the ,arethusa bearing up to    
engage the ,belle ,poule1 as ,i do      
,raphael's ,disputa1 and even rather    
more2 for when abundant1 beautiful      
possessions of this kind are almost     
always associated with vulgar luxury1   
and become then anything but indicative 
of noble character in their possessors4 
,the ideal of human life is a union of  
,spartan simplicity of manners with     
,athenian sensibility and imagination2  
but in actual results1 we are           
continually mistaking ignorance for     
simplicity1 and sensuality for          
refinement4   #adh4 7#e7 ,the fifth kind
 of property is representative property1
 consisting of documents or money1 or   
rather documents only--for money itself 
is only a transferable document1 current
 among societies of men1 giving claim1  
at sight1 to some definite benefit or   
advantage1 most commonly to a certain   
share of real property existing in those

 societies4 ,the money is only genuine  
when the property it gives claim to is  
real1 or the advantages it gives claim  
to certain2 otherwise1 it is false      
money1 and may be considered as much    
'forged' when issued by a government1 or
 a bank1 as when by an individual4      
,thus1 if a dozen of men1 cast ashore on
 a desert island1 pick up a number of   
stones1 put a red spot on each stone1   
and pass a law that every stone marked  
with a red spot shall give claim to a   
peck of wheat2--so long as no wheat     
exists1 or can exist1 on the island1 the
 stones are not money4 ,but the moment  
as much wheat exists as shall render it 
possible for the society always to give 
a peck for every spotted stone1 the     
spotted stones would become money1 and  
might be exchanged by their possessors  
for whatever other commodities they     
chose1 to the value of the peck of wheat
 which the stones represented4 ,if more 
stones were issued than the quantity of 
wheat could answer the demand of1 the   

value of the stone coinage would be     
depreciated1 in proportion to its       
increase above the quantity needed to   
answer it4   #adi4 ,again1 supposing a  
certain number of the men so cast ashore
 were set aside by lot1 or any other    
convention1 to do the rougher labour    
necessary for the whole society1 they   
themselves being maintained by the daily
 allotment of a certain quantity of     
food1 clothing1 etc4 ,then1 if it were  
agreed that the stones spotted with red 
should be signs of a ,government order  
for the labour of these men2 and that   
any person presenting a spotted stone at
 the office of the labourers1 should be 
entitled to a man's work for a week or a
 day1 the red stones would be money2 and
 might--probably would--immediately pass
 current in the island for as much food1
 or clothing1 or iron1 or any other     
article1 as a man's work for the period 
secured by the stone was worth4 ,but if 
the ,government issued so many spotted  
stones that it was impossible for the   

body of men they employed to comply with
 the orders1--as1 suppose1 if they only 
employed twelve men1 and issued eighteen
 spotted stones daily1 ordering a day's 
work each1--then the six extra stones   
would be forged or false money2 and the 
effect of this forgery would be the     
depreciation of the value of the whole  
coinage by one-third1 that being the    
period of shortcoming which would1 on   
the average1 necessarily ensue in the   
execution of each order4 ,much          
occasional work may be done in a state  
or society1 by help of an issue of false
 money 7or false promises7 by way of    
stimulants2 and the fruit of this work1 
if it comes into the promiser's hands1  
may sometimes enable the false promises 
at last to be fulfilled3 hence the      
frequent issue of false money by        
governments and banks1 and the not      
unfrequent escapes from the natural and 
proper consequences of such false       
issues1 so as to cause a confused       
conception in most people's minds of    

what money really is4 ,i am not sure    
whether some quantity of such false     
issue may not really be permissible in a
 nation1 accurately proportioned to the 
minimum average produce of the labour it
 excites2 but all such procedures are   
more or less unsound2 and the notion of 
unlimited issue of currency is simply   
one of the absurdest and most monstrous 
that ever came into disjointed human    
wits4   #aej4 ,the use of objects of    
real or supposed value for currency1 as 
gold1 jewellery1 etc41 is barbarous2 and
 it always expresses either the measure 
of the distrust in the society of its   
own government1 or the proportion of    
distrustful or barbarous nations with   
whom it has to deal4 ,a metal not easily
 corroded or imitated1 it is a desirable
 medium of currency for the sake of     
cleanliness and convenience1 but1 were  
it possible to prevent forgery1 the more
 worthless the metal itself1 the better4
 ,the use of worthless media1           
unrestrained by the use of valuable     

media1 has always hitherto involved1 and
 is therefore supposed to involve       
necessarily1 unlimited1 or at least     
improperly extended1 issue2 but we might
 as well suppose that a man must        
necessarily issue unlimited promises    
because his words cost nothing4         
,intercourse with foreign nations must1 
indeed1 for ages yet to come1 at the    
world's present rate of progress1 be    
carried on by valuable currencies2 but  
such transactions are nothing more than 
forms of barter4 ,the gold used at      
present as a currency is not1 in point  
of fact1 currency at all1 but the real  
property#ba which the currency gives    
claim to1 stamped to measure its        
quantity1 and mingling with the real    
currency occasionally by barter4   #aea4
 ,the evils necessarily resulting from  
the use of baseless currencies have been
 terribly illustrated while these sheets
 have been passing through the press2 ,i
 have not had time to examine the       
various conditions of dishonest or      

absurd trading which have led to the    
late 'panic' in ,america and ,england2  
this only ,i know1 that no merchant     
deserving the name ought to be more     
liable to 'panic' than a soldier should2
 for his name should never be on more   
paper than he can at any instant meet   
the call of1 happen what will4 ,i do not
 say this without feeling at the same   
time how difficult it is to mark1 in    
existing commerce1 the just limits      
between the spirit of enterprise and of 
speculation4 ,something of the same     
temper which makes the ,english soldier 
do always all that is possible1 and     
attempt more than is possible1 joins its
 influence with that of mere avarice in 
tempting the ,english merchant into     
risks which he cannot justify1 and      
efforts which he cannot sustain2 and the
 same passion for adventure which our   
travellers gratify every summer on      
perilous snow wreaths1 and              
cloud-encompassed precipices1 surrounds 
with a romantic fascination the         

glittering of a hollow investment1 and  
gilds the clouds that curl round gulfs  
of ruin4 ,nay1 a higher and a more      
serious feeling frequently mingles in   
the motley temptation2 and men apply    
themselves to the task of growing rich1 
as to a labour of providential          
appointment1 from which they cannot     
pause without culpability1 nor retire   
without dishonour4 ,our large trading   
cities bear to me very nearly the aspect
 of monastic establishments in which the
 roar of the mill-wheel and the crane   
takes the place of other devotional     
music2 and in which the worship of      
,mammon or ,moloch is conducted with a  
tender reverence and an exact propriety2
 the merchant rising to his ,mammon     
matins with the self-denial of an       
anchorite1 and expiating the frivolities
 into which he may be beguiled in the   
course of the day by late attendance at 
,mammon vespers4 ,but1 with every       
allowance that can be made for these    
conscientious and romantic persons1 the 

fact remains the same1 that by far the  
greater number of the transactions which
 lead to these times of commercial      
embarrassment may be ranged simply under
 two great heads--gambling and stealing2
 and both of these in their most        
culpable form1 namely1 gambling with    
money which is not ours1 and stealing   
from those who trust us4 ,i have        
sometimes thought a day might come1 when
 the nation would perceive that a       
well-educated man who steals a hundred  
thousand pounds1 involving the entire   
means of subsistence of a hundred       
families1 deserves1 on the whole1 as    
severe a punishment as an ill-educated  
man who steals a purse from a pocket1 or
 a mug from a pantry4  ,note #ba3 ,or   
rather1 equivalent to such real         
property1 because everybody has been    
accustomed to look upon it as valuable2 
and therefore everybody is willing to   
give labour or goods for it4 ,but real  
property does ultimately consist only in
 things that nourish body or mind2 gold 

would be useless to us if we could not  
get mutton or books for it4 ,ultimately 
all commercial mistakes and             
embarrassments result from people       
expecting to get goods without working  
for them1 or wasting them after they    
have got them4 ,a nation which labours1 
and takes care of the fruits of labour1 
would be rich and happy though there    
were no gold in the universe4 ,a nation 
which is idle1 and wastes the produce of
 what work it does1 would be poor and   
miserable1 though all its mountains were
 of gold1 and had glens filled with     
diamond instead of glacier4   #aeb4 ,but
 without hoping for this excess of      
clear-sightedness1 we may at least      
labour for a system of greater honesty  
and kindness in the minor commerce of   
our daily life2 since the great         
dishonesty of the great buyers and      
sellers is nothing more than the natural
 growth and outcome from the little     
dishonesty of the little buyers and     
sellers4 ,every person who tries to buy 

an article for less than its proper     
value1 or who tries to sell it at more  
than its proper value--every consumer   
who keeps a tradesman waiting for his   
money1 and every tradesman who bribes a 
consumer to extravagance by credit1 is  
helping forward1 according to his own   
measure of power1 a system of baseless  
and dishonourable commerce1 and forcing 
his country down into poverty and shame4
 ,and people of moderate means and      
average powers of mind would do far more
 real good by merely carrying out stern 
principles of justice and honesty in    
common matters of trade1 than by the    
most ingenious schemes of extended      
philanthropy1 or vociferous declarations
 of theological doctrine4 ,there are    
three weighty matters of the            
law--justice1 mercy1 and truth2 and of  
these the ,teacher puts truth last1     
because that cannot be known but by a   
course of acts of justice and love4 ,but
 men put1 in all their efforts1 truth   
first1 because they mean by it their own

 opinions2 and thus1 while the world has
 many people who would suffer martyrdom 
in the cause of what they call truth1 it
 has few who will suffer even a little  
inconvenience1 in that of justice and   
mercy4  ,,supplementary ,,additional    
,,papers4  ,,education ,,in ,,art4      
,,art ,,school ,,notes4  ,,social       
,,policy4     ,,education ,,in ,,art4   
7,read for the author before the        
,national ,association for the          
,promotion of ,social ,science in the   
autumn of #aheh2 and printed in the     
,transactions of the ,society for that  
year1 pp4 #caa-af47   #aec4 ,i will not 
attempt in this paper to enter into any 
general consideration of the possible   
influence of art on the masses of the   
people4 ,the inquiry is one of great    
complexity1 involved with that into the 
uses and dangers of luxury2 nor have we 
as yet data enough to justify us in     
conjecturing how far the practice of art
 may be compatible with rude or         
mechanical employments4 ,but the        

question1 however difficult1 lies in the
 same light as that of the uses of      
reading or writing2 for drawing1 so far 
as it is possible to the multitude1 is  
mainly to be considered as a means of   
obtaining and communicating knowledge4  
,he who can accurately represent the    
form of an object1 and match its colour1
 has unquestionably a power of notation 
and description greater in most         
instances than that of words2 and this  
science of notation ought to be simply  
regarded as that which is concerned with
 the record of form1 just as arithmetic 
is concerned with the record of number4 
,of course abuses and dangers attend the
 acquirement of every power4 ,we have   
all of us probably known persons who1   
without being able to read or write1    
discharged the important duties of life 
wisely and faithfully2 as we have also  
without doubt known others able to read 
and write whose reading did little good 
to themselves and whose writing little  
good to any one else4 ,but we do not    

therefore doubt the expediency of       
acquiring those arts1 neither ought we  
to doubt the expediency of acquiring the
 art of drawing1 if we admit that it may
 indeed become practically useful4      
#aed4 ,nor should we long hesitate in   
admitting this1 it we were not in the   
habit of considering instruction in the 
arts chiefly as a means of promoting    
what we call taste or dilettanteism1 and
 other habits of mind which in their    
more modern developments in ,europe have
 certainly not been advantageous to     
nations1 or indicative of worthiness in 
them4 ,nevertheless1 true taste1 or the 
instantaneous preference of the noble   
thing to the ignoble1 is a necessary    
accompaniment of high worthiness in     
nations or men2 only it is not to be    
acquired by seeking it as our chief     
object1 since the first question1 alike 
for man and for multitude1 is not at all
 what they are to like1 but what they   
are to do2 and fortunately so1 since    
true taste1 so far as it depends on     

original instinct1 is not equally       
communicable to all men2 and1 so far as 
it depends on extended comparison1 is   
unattainable by men employed in narrow  
fields of life4 ,we shall not succeed in
 making a peasant's opinion good        
evidence on the merits of the ,elgin and
 ,lycian marbles2 nor is it necessary to
 dictate to him in his garden the       
preference of gillyflower or of rose2   
yet ,i believe we may make art a means  
of giving him helpful and happy         
pleasure1 and of gaining for him        
serviceable knowledge4   #aee4 ,thus1 in
 our simplest codes of school           
instruction1 ,i hope some day to see    
local natural history assume a principal
 place1 so that our peasant children may
 be taught the nature and uses of the   
herbs that grow in their meadows1 and   
may take interest in observing and      
cherishing1 rather than in hunting or   
killing1 the harmless animals of their  
country4 ,supposing it determined that  
this local natural history should be    

taught1 drawing ought to be used to fix 
the attention1 and test1 while it aided1
 the memory4 ,draw such and such a      
flower in outline1 with its bell towards
 you4 ,draw it with its side towards    
you4 ,paint the spots upon it4 ,draw a  
duck's head--her foot4 ,now a robin's--a
 thrush's--now the spots upon the       
thrush's breast4 ,these are the kinds of
 tasks which it seems to me should be   
set to the young peasant student4       
,surely the occupation would no more be 
thought contemptible which was thus     
subservient to knowledge and to         
compassion2 and perhaps we should find  
in process of time that the ,italian    
connexion of art with diletto1 or       
delight1 was both consistent with1 and  
even mainly consequent upon1 a pure     
,greek connexion of art with arete1 or  
virtue4   #aef4 ,it may perhaps be      
thought that the power of representing  
in any sufficient manner natural objects
 such as those above instanced would be 
of too difficult attainment to be aimed 

at in elementary instruction4 ,but ,i   
have had practical proof that it is not 
so4 ,from workmen who had little time to
 spare1 and that only after they were   
jaded by the day's labour1 ,i have      
obtained1 in the course of three or four
 months from their first taking a pencil
 in hand1 perfectly useful1 and in many 
respects admirable1 drawings of natural 
objects4 ,it is1 however1 necessary1 in 
order to secure this result1 that the   
student's aim should be absolutely      
restricted to the representation of     
visible fact4 ,all more varied or       
elevated practice must be deferred until
 the powers of true sight and just      
representation are acquired in          
simplicity2 nor1 in the case of children
 belonging to the lower classes1 does it
 seem to me often advisable to aim at   
anything more4 ,at all events1 their    
drawing lessons should be made as       
recreative as possible4 ,undergoing due 
discipline of hard labour in other      
directions1 such children should be     

painlessly initiated into employments   
calculated for the relief of toil4 ,it  
is of little consequence that they      
should know the principles of art1 but  
of much that their attention should be  
pleasurably excited4 ,in our higher     
public schools1 on the contrary1 drawing
 should be taught rightly2 that is to   
say1 with due succession and security of
 preliminary steps1--it being here of   
little consequence whether the student  
attains great or little skill1 but of   
much that he should perceive distinctly 
what degree of skill he has attained1   
reverence that which surpasses it1 and  
know the principles of right in what he 
has been able to accomplish4 ,it is     
impossible to make every boy an artist  
or a connoisseur1 but quite possible to 
make him understand the meaning of art  
in its rudiments1 and to make him modest
 enough to forbear expressing1 in after 
life1 judgments which he has not        
knowledge enough to render just4   #aeg4
 ,there is1 however1 at present this    

great difficulty in the way of such     
systematic teaching--that the public do 
not believe the principles of art are   
determinable1 and1 in no wise1 matters  
of opinion4 ,they do not believe that   
good drawing is good1 and bad drawing   
bad1 whatever any number of persons may 
think or declare to the contrary--that  
there is a right or best way of laying  
colours to produce a given effect1 just 
as there is a right or best way of      
dyeing cloth of a given colour1 and that
 ,titian and ,veronese are not merely   
accidentally admirable but eternally    
right4   #aeh4 ,the public1 of course1  
cannot be convinced of this unity and   
stability of principle until clear      
assertion of it is made to them by      
painters whom they respect2 and the     
painters whom they respect are generally
 too modest1 and sometimes too proud1 to
 make it4 ,i believe the chief reason   
for their not having yet declared at    
least the fundamental laws of labour as 
connected with art-study is a kind of   

feeling on their part that cela va sans 
dire4 ,every great painter knows so well
 the necessity of hard and systematized 
work1 in order to attain even the lower 
degrees of skill1 that he naturally     
supposes if people use no diligence in  
drawing1 they do not care to acquire the
 power of it1 and that the toil involved
 in wholesome study being greater than  
the mass of people have ever given1 is  
also greater than they would ever be    
willing to give4 ,feeling1 also1 as any 
real painter feels1 that his own        
excellence is a gift1 no less than the  
reward of toil1 perhaps slightly        
disliking to confess the labour it has  
cost him to perfect it1 and wholly      
despairing of doing any good by the     
confession1 he contemptuously leaves the
 drawing-master to do the best he can in
 his twelve lessons1 and with courteous 
unkindness permits the young women of   
,england to remain under the impression 
that they can learn to draw with less   
pains than they can learn to dance4 ,i  

have had practical experience enough1   
however1 to convince me that this       
treatment of the amateur student is     
unjust4 ,young girls will work with     
steadiest perseverance when once they   
understand the need of labour1 and are  
convinced that drawing is a kind of     
language which may for ordinary purposes
 be learned as easily as ,french or     
,german2 this language1 also1 having its
 grammar and its pronunciation1 to be   
conquered or acquired only by           
persistence in irksome exercise--an     
error in a form being as entirely and   
simply an error as a mistake in a tense1
 and an ill-drawn line as reprehensible 
as a vulgar accent4   #aei4 ,and ,i     
attach great importance to the sound    
education of our younger females in art1
 thinking that in ,england the nursery  
and the drawing-room are perhaps the    
most influential of academies4 ,we      
address ourselves in vain to the        
education of the artist while the demand
 for his work is uncertain or           

unintelligent2 nor can art be considered
 as having any serious influence on a   
nation while gilded papers form the     
principal splendour of the reception    
room1 and ill-wrought though costly     
trinkets the principal entertainment of 
the boudoir4  ,it is surely1 therefore1 
to be regretted that the art-education  
of our ,government schools is addressed 
so definitely to the guidance of the    
artizan1 and is therefore so little     
acknowledged hitherto by the general    
public1 especially by its upper classes4
 ,i have not acquaintance enough with   
the practical working of that system to 
venture any expression of opinion       
respecting its general expediency2 but  
it is my conviction that1 so far as     
references are involved in it to the    
designing of patterns capable of being  
produced by machinery1 such references  
must materially diminish its utility    
considered as a general system of       
instruction4   #afj4 ,we are still1     
therefore1 driven to the same           

point1--the need of an authoritative    
recommendation of some method of study  
to the public2 a method determined upon 
by the concurrence of some of our best  
painters1 and avowedly sanctioned by    
them1 so as to leave no room for        
hesitation in its acceptance4  ,nor need
 it be thought that1 because the        
ultimate methods of work employed by    
painters vary according to the          
particular effects produced by each1    
there would be any difficulty in        
obtaining their collective assent to a  
system of elementary precept4 ,the facts
 of which it is necessary that the      
student should be assured in his early  
efforts1 are so simple1 so few1 and so  
well known to all able draughtsmen that1
 as ,i have just said1 it would be      
rather doubt of the need of stating what
 seemed to them self-evident1 than      
reluctance to speak authoritatively on  
points capable of dispute1 that would   
stand in the way of their giving form to
 a code of general instruction4 ,to take

 merely two instances3 ,it will perhaps 
appear hardly credible that among       
amateur students1 however far advanced  
in more showy accomplishments1 there    
will not be found one in a hundred who  
can make an accurate drawing to scale4  
,it is much if they can copy anything   
with approximate fidelity of its real   
size4 ,now1 the inaccuracy of eye which 
prevents a student from drawing to scale
 is in fact nothing else than an entire 
want of appreciation of proportion1 and 
therefore of composition4 ,he who alters
 the relations of dimensions to each    
other in his copy1 shows that he does   
not enjoy those relations in the        
original--that is to say1 that all      
appreciation of noble design 7which is  
based on the most exquisite relations of
 magnitude7 is impossible to him4 ,to   
give him habits of mathematical accuracy
 in transference of the outline of      
complex form1 is therefore among the    
first1 and even among the most          
important1 means of educating his taste4

 ,a student who can fix with precision  
the cardinal points of a bird's wing1   
extended in any fixed position1 and can 
then draw the curves of its individual  
plumes without measurable error1 has    
advanced further towards a power of     
understanding the design of the great   
masters than he could by reading many   
volumes of criticism1 or passing many   
months in undisciplined examination of  
works of art4   #afa4 ,again1 it will be
 found that among amateur students there
 is almost universal deficiency in the  
power of expressing the roundness of a  
surface4 ,they frequently draw with     
considerable dexterity and vigour1 but  
never attain the slightest sense of     
those modulations in form which can only
 be expressed by gradations in shade4   
,they leave sharp edges to their blots  
of colour1 sharp angles in their        
contours of lines1 and conceal from     
themselves their incapacity of          
completion by redundance of object4 ,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 7whether pen1 pencil1 or     
chalk71 would at once prevent much vain 
labour1 and put an end to many errors of
 that worst kind which not only retard  
the student1 but blind him2 which       
prevent him from either attaining       
excellence himself1 or understanding it 
in others4   #afb4 ,it would be easy1   
did time admit it1 to give instances of 
other principles which it is equally    
essential that the student should know1 
and certain that all painters of        
eminence would sanction2 while even     
those respecting which some doubt may   
exist in their application to consummate
 practice1 are yet perfectly            
determinable1 so far as they are needed 
to guide a beginner4 ,it may1 for       
instance1 be a question how far local   
colour should be treated as an element  
of chiaroscuro in a master's drawing of 

the human form4 ,but there can be no    
question that it must be so treated in a
 boy's study of a tulip or a trout4     
#afc4 ,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 art1 such as could at once be 
put within the reach of masters of      
schools4 ,for the modern student labours
 under heavy disadvantages in what at   
first sight might appear an assistance  
to him1 namely1 the number of examples  
of many different styles which surround 
him in galleries or museums4 ,his mind  
is disturbed by the inconsistencies of  
various excellences1 and by his own     
predilection for false beauties in      
second or third-rate works4 ,he is thus 
prevented from observing any one example
 long enough to understand its merit1 or
 following any one method long enough to
 obtain facility in its practice4 ,it   
seems1 therefore1 very desirable that   

some such standard of art should be     
fixed for all our schools1--a standard  
which1 it must be remembered1 need not  
necessarily be the highest possible1    
provided only it is the rightest        
possible4 ,it is not to be hoped that   
the student should imitate works of the 
most exalted merit1 but much to be      
desired that he should be guided by     
those which have fewest faults4   #afd4 
,perhaps1 therefore1 the most           
serviceable examples which could be set 
before youth might be found in the      
studies or drawings1 rather than in the 
pictures1 of first-rate masters2 and the
 art of photography enables us to put   
renderings of such studies1 which for   
most practical purposes are as good as  
the originals1 on the walls of every    
school in the kingdom4 ,supposing 7,i   
merely name these as examples of what ,i
 mean71 the standard of manner in       
light-and-shade drawing fixed by        
,leonardo's study1 ,no4 #ai1 in the     
collection of photographs lately        

published from drawings in the ,florence
 ,gallery2 the standard of pen drawing  
with a wash1 fixed by ,titian's sketch1 
,no4 #cj in the same collection2 that of
 etching1 fixed by ,rembrandt's spotted 
shell2 and that of point work with the  
pure line1 by ,drer's crest with the    
cock2 every effort of the pupil1        
whatever the instrument in his hand1    
would infallibly tend in a right        
direction1 and the perception of the    
merits of these four works1 or of any   
others like them1 once attained         
thoroughly1 by efforts1 however distant 
or despairing1 to copy portions of them1
 would lead securely in due time to the 
appreciation of other modes of          
excellence4   #afe4 ,i cannot1 of       
course1 within the limits of this paper1
 proceed to any statement of the present
 requirements of the ,english operative 
as regards art education4 ,but ,i do not
 regret this1 for it seems to me very   
desirable that our attention should for 
the present be concentrated on the more 

immediate object of general instruction4
 ,whatever the public demand the artist 
will soon produce2 and the best         
education which the operative can       
receive is the refusal of bad work and  
the acknowledgment of good4 ,there is no
 want of genius among us1 still less of 
industry4 ,the least that we do is      
laborious1 and the worst is wonderful4  
,but there is a want among us1 deep and 
wide1 of discretion in directing toil1  
and of delight in being led by          
imagination4 ,in past time1 though the  
masses of the nation were less informed 
than they are now1 they were for that   
very reason simpler judges and happier  
gazers2 it must be ours to substitute   
the gracious sympathy of the            
understanding for the bright gratitude  
of innocence4 ,an artist can always     
paint well for those who are lightly    
pleased or wisely displeased1 but he    
cannot paint for those who are dull in  
applause and false in condemnation4     
,,remarks ,,addressed  ,,to ,,the       

,,mansfield ,,art ,,night ,,class  ,oct4
 #adth1 #ahgc4bb   #aff4 ,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 teacher4 ,they   
must never be supposed1 because         
practically they never can become1      
indications of superior genius2 unless  
in so far as genius is likely to be     
diligent and obedient1 beyond the       
strength and temper of the dull4  ,note 
#bb3 ,this address was written for the  
,art ,night ,class1 ,mansfield1 but not 
delivered by me4 ,in my absence--,i     
forget from what cause1 but             
inevitable--the ,duke of ,st4 ,albans   
honoured me by reading it to the        
meeting4  ,but it so frequently happens 
that the stimulus of vanity1 acting on  
minds of inferior calibre1 produces for 
a time an industry surpassing the       
tranquil and self-possessed exertion of 
real power1 that it may be questioned   

whether the custom of bestowing prizes  
at all may not ultimately cease in our  
higher ,schools of ,art1 unless in the  
form of substantial assistance given to 
deserving students who stand in need of 
it3 a kind of prize1 the claim to which1
 in its nature1 would depend more on    
accidental circumstances1 and generally 
good conduct1 than on genius4   #afg4   
,but1 without any reference to the      
opinion of others1 and without any      
chance of partiality in your own1 there 
is one test by which you can all        
determine the rate of your real         
progress4  ,examine1 after every period 
of renewed industry1 how far you have   
enlarged your faculty of admiration4    
,consider how much more you can see1 to 
reverence1 in the work of masters2 and  
how much more to love1 in the work of   
nature4  ,this is the only constant and 
infallible test of progress4 ,that you  
wonder more at the work of great men1   
and that you care more for natural      
objects4  ,you have often been told by  

your teachers to expect this last       
result3 but ,i fear that the tendency of
 modern thought is to reject the idea of
 that essential difference in rank      
between one intellect and another1 of   
which increasing reverence is the wise  
acknowledgment4  ,you may1 at least in  
early years1 test accurately your power 
of doing anything in the least rightly1 
by your increasing conviction that you  
never will be able to do it as well as  
it has been done by others4   #afh4     
,that is a lesson1 ,i repeat1 which     
differs much1 ,i fear1 from the one you 
are commonly taught4 ,the vulgar and    
incomparably false saying of            
,macaulay's1 that the intellectual      
giants of one age become the            
intellectual pigmies of the next1 has   
been the text of too many sermons lately
 preached to you4  ,you think you are   
going to do better things--each of      
you--than ,titian and ,phidias--write   
better than ,virgil--think more wisely  
than ,solomon4  ,my good young people1  

this is the foolishest1 quite           
pre-eminently--perhaps almost the       
harmfullest--notion that could possibly 
be put into your empty little eggshells 
of heads4 ,there is not one in a million
 of you who can ever be great in any    
thing4 ,to be greater than the greatest 
that have been1 is permitted perhaps to 
one man in ,europe in the course of two 
or three centuries4 ,but because you    
cannot be ,handel and ,mozart--is it any
 reason why you should not learn to sing
 ,god save the ,queen properly1 when you
 have a mind to8 ,because a girl cannot 
be prima donna in the ,italian ,opera1  
is it any reason that she should not    
learn to play a jig for her brothers and
 sisters in good time1 or a soft little 
tune for her tired mother1 or that she  
should not sing to please herself1 among
 the dew1 on a ,may morning8 ,believe   
me1 joy1 humility1 and usefulness1      
always go together3 as insolence with   
misery1 and these both with             
destructiveness4 ,you may learn with    

proud teachers how to throw down the    
,vendme ,column1 and burn the ,louvre1  
but never how to lay so much as one     
touch of safe colour1 or one layer of   
steady stone3 and if indeed there be    
among you a youth of true genius1 be    
assured that he will distinguish himself
 first1 not by petulance or by disdain1 
but by discerning firmly what to admire1
 and whom to obey4   #afi4 ,it will1 ,i 
hope1 be the result of the interest     
lately awakened in art through our      
provinces1 to enable each town of       
importance to obtain1 in permanent      
possession1 a few--and it is desirable  
there should be no more than a          
few--examples of consummate and         
masterful art3 an engraving or two by   
,drer--a single portrait by ,reynolds--a
 fifteenth century ,florentine          
drawing--a thirteenth century ,french   
piece of painted glass1 and the like2   
and that1 in every town occupied in a   
given manufacture1 examples of          
unquestionable excellence in that       

manufacture should be made easily       
accessible in its civic museum4  ,i must
 ask you1 however1 to observe very      
carefully that ,i use the word          
manufacture in its literal and proper   
sense4 ,it means the making of things by
 the hand4 ,it does not mean the making 
them by machinery4 ,and1 while ,i plead 
with you for a true humility in         
rivalship with the works of others1 ,i  
plead with you also for a just pride in 
what you really can honestly do         
yourself4  ,you must neither think your 
work the best ever done by man3--nor1 on
 the other hand1 think that the tongs   
and poker can do better--and that1      
although you are wiser than ,solomon1   
all this wisdom of yours can be outshone
 by a shovelful of coke4   #agj4 ,let me
 take1 for instance1 the manufacture of 
lace1 for which1 ,i believe1 your       
neighbouring town of ,nottingham enjoys 
renown4 ,there is still some distinction
 between machine-made and hand-made     
lace4 ,i will suppose that distinction  

so far done away with1 that1 a pattern  
once invented1 you can spin lace as fast
 as you now do thread4 ,everybody then  
might wear1 not only lace collars1 but  
lace gowns4 ,do you think they would be 
more comfortable in them than they are  
now in plain stuff--or that1 when       
everybody could wear them1 anybody would
 be proud of wearing them8 ,a spider may
 perhaps be rationally proud of his own 
cobweb1 even though all the fields in   
the morning are covered with the like1  
for he made it himself--but suppose a   
machine spun it for him8  ,suppose all  
the gossamer were ,nottingham-made1     
would a sensible spider be either       
prouder1 or happier1 think you8  ,a     
sensible spider6 ,you cannot perhaps    
imagine such a creature4 ,yet surely a  
spider is clever enough for his own     
ends8  ,you think him an insensible     
spider1 only because he cannot          
understand yours--and is apt to impede  
yours4 ,well1 be assured of this1 sense 
in human creatures is shown also1 not by

 cleverness in promoting their own ends 
and interests1 but by quickness in      
understanding other people's ends and   
interests1 and by putting our own work  
and keeping our own wishes in harmony   
with theirs4   #aga4 ,but ,i return to  
my point1 of cheapness4 ,you don't think
 that it would be convenient1 or even   
creditable1 for women to wash the       
doorsteps or dish the dinners in lace   
gowns8 ,nay1 even for the most ladylike 
occupations--reading1 or writing1 or    
playing with her children--do you think 
a lace gown1 or even a lace collar1 so  
great an advantage or dignity to a      
woman8 ,if you think of it1 you will    
find the whole value of lace1 as a      
possession1 depends on the fact of its  
having a beauty which has been the      
reward of industry and attention4  ,that
 the thing itself is a prize--a thing   
which everybody cannot have4 ,that it   
proves1 by the look of it1 the ability  
of its maker2 that it proves1 by the    
rarity of it1 the dignity of its        

wearer--either that she has been so     
industrious as to save money1 which can 
buy1 say1 a piece of jewellery1 of gold 
tissue1 or of fine lace--or else1 that  
she is a noble person1 to whom her      
neighbours concede1 as an honour1 the   
privilege of wearing finer dresses than 
they4  ,if they all choose to have lace 
too--if it ceases to be a prize--it     
becomes1 does it not1 only a cobweb8    
,the real good of a piece of lace1 then1
 you will find1 is that it should show1 
first1 that the designer of it had a    
pretty fancy2 next1 that the maker of it
 had fine fingers2 lastly1 that the     
wearer of it has worthiness or dignity  
enough to obtain what is difficult to   
obtain1 and common sense enough not to  
wear it on all occasions4 ,i limit      
myself1 in what farther ,i have to say1 
to the question of the manufacture--nay1
 of one requisite in the manufacture3   
that which ,i have just called a pretty 
fancy4   #agb4 ,what do you suppose ,i  
mean by a pretty fancy8 ,do you think   

that1 by learning to draw1 and looking  
at flowers1 you will ever get the       
ability to design a piece of lace       
beautifully8 ,by no means4 ,if that were
 so1 everybody would soon learn to      
draw--everybody would design lace       
prettily--and then1--nobody would be    
paid for designing it4 ,to some extent1 
that will indeed be the result of modern
 endeavour to teach design4 ,but against
 all such endeavours1 mother-wit1 in the
 end1 will hold her own4  ,but anybody  
who has this mother-wit1 may make the   
exercise of it more pleasant to         
themselves1 and more useful to other    
people1 by learning to draw4  ,an       
,indian worker in gold1 or a            
,scandinavian worker in iron1 or an old 
,french worker in thread1 could produce 
indeed beautiful design out of nothing  
but groups of knots and spirals3 but    
you1 when you are rightly educated1 may 
render your knots and spirals infinitely
 more interesting by making them        
suggestive of natural forms1 and rich in

 elements of true knowledge4   #agc4    
,you know1 for instance1 the pattern    
which for centuries has been the basis  
of ornament in ,indian shawls--the      
bulging leaf ending in a spiral4 ,the   
,indian produces beautiful designs with 
nothing but that spiral4 ,you cannot    
better his powers of design1 but you may
 make them more civil and useful by     
adding knowledge of nature to invention4
  ,suppose you learn to draw rightly1   
and1 therefore1 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 existence4 ,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      
beauty1 and of scientific truth1 and yet

 be variable by fancy1 with quite as    
much ease as the meaningless ,indian    
one4 ,similarly1 there is no form of    
leaf1 of flower1 or of insect1 which    
might not become suggestive to you1 and 
expressible in terms of manufacture1 so 
as to be interesting1 and useful to     
others4   #agd4 ,only don't think that  
this kind of study will ever pay in the 
vulgar sense4  ,it will make you wiser  
and happier4 ,but do you suppose that it
 is the law of ,god1 or nature1 that    
people shall be paid in money for       
becoming wiser and happier8 ,they are   
so1 by that law1 for honest work2 and as
 all honest work makes people wiser and 
happier1 they are indeed1 in some sort1 
paid in money for becoming wise4  ,but  
if you seek wisdom only that you may get
 money1 believe me1 you are exactly on  
the foolishest of all fools' errands4   
,she is more precious than rubies--but  
do you think that is only because she   
will help you to buy rubies8  ,all the  
things thou canst desire are not to be  

compared to her4 ,do you think that is  
only because she will enable you to get 
all the things you desire8 ,she is      
offered to you as a blessing in herself4
 ,she is the reward of kindness1 of     
modesty1 of industry4 ,she is the prize 
of ,prizes--and alike in poverty or in  
riches--the strength of your ,life now1 
the earnest of whatever ,life is to     
come4     ,,social ,,policy  ,,based    
,,on ,,natural ,,selection4  ,paper read
 before the ,metaphysical ,society1 ,may
 #aath1 #ahge4bc   #age4 ,it has always 
seemed to me that ,societies like this  
of ours1 happy in including members not 
a little diverse in thought and various 
in knowledge1 might be more useful to   
the public than perhaps they can fairly 
be said to have approved themselves     
hitherto1 by using their variety of     
power rather to support intellectual    
conclusions by concentric props1 than to
 shake them with rotatory storms of wit2
 and modestly endeavouring to initiate  
the building of walls for the ,bridal   

city of ,science1 in which no man will  
care to identify the particular stones  
he lays1 rather than complying farther  
with the existing picturesque1 but      
wasteful1 practice of every knight to   
throw up a feudal tower of his own      
opinions1 tenable only by the most      
active pugnacity1 and pierced rather    
with arrow-slits from which to annoy his
 neighbours1 than windows to admit light
 or air4  ,note #bc3 ,i trust that the  
,society will not consider its          
privileges violated by the publication  
of an essay1 which1 for such audience1  
,i wrote with more than ordinary care4  
#agf4 ,the paper read at our last       
meeting was unquestionably1 within the  
limits its writer had prescribed to     
himself1 so logically sound1 that       
7encouraged also by the suggestion of   
some of our most influential members71  
,i shall endeavour to make the matter of
 our to-night's debate consequent upon  
it1 and suggestive of possibly further  
advantageous deductions4  ,it will be   

remembered that1 in reference to the    
statement in the ,bishop of             
,peterborough's ,paper1 of the moral    
indifference of certain courses of      
conduct on the postulate of the         
existence only of a ,mechanical base of 
,morals1 it was observed by ,dr4 ,adam  
,clarke that1 even on such mechanical   
basis1 the word moral might still be    
applied specially to any course of      
action which tended to the development  
of the human race4 ,whereupon ,i        
ventured myself to inquire1 in what     
direction such development was to be    
understood as taking place2 and the     
discussion of this point being then     
dropped for want of time1 ,i would ask  
the ,society's permission to bring it   
again before them this evening in a     
somewhat more extended form2 for in     
reality the question respecting the     
development of men is twofold1--first1  
namely1 in what direction2 and secondly1
 in what social relations1 it is to be  
sought4  ,i would therefore at present  

ask more deliberately than ,i could at  
our last meeting1--first1 in what       
direction it is desirable that the      
development of humanity should take     
place8 ,should it1 for instance1 as in  
,greece1 be of physical                 
beauty1--emulation1 7,hesiod's second   
,eris71--pugnacity1 and patriotism8 or1 
as in modern ,england1 of physical      
ugliness1--envy1 7,hesiod's first       
,eris71--cowardice1 and selfishness8 or1
 as by a conceivably humane but hitherto
 unexampled education might be          
attempted1 of physical beauty1 humility1
 courage1 and affection1 which should   
make all the world one native land1 and 
,greek3 pasa g taphos8   #agg4 ,i do not
 doubt but that the first automatic     
impulse of all our automatic friends    
here present1 on hearing this sentence1 
will be strenuously to deny the accuracy
 of my definition of the aims of modern 
,english education4 ,without attempting 
to defend it1 ,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 ,board1 as well as to many other
 automatically well-meaning and         
ingenious persons2 and that this sense  
of the injuriousness and offensiveness  
of my definition cannot possibly have   
any other basis 7if ,i may be permitted 
to continue my professional similitudes7
 than the fallen remnants and goodly    
stones1 not one now left on another1 but
 still forming an unremovable cumulus of
 ruin1 and eternal ,birs ,nimroud1 as it
 were1 on the site of the old belfry of 
,christian morality1 whose top looked   
once so like touching ,heaven4  ,for no 
offence could be taken at my definition1
 unless traceable to adamantine         
conviction1--that ugliness1 however     
indefinable1 envy1 however natural1 and 
cowardice1 however commercially         
profitable1 are nevertheless eternally  
disgraceful2 contrary1 that is to say1  
to the grace of our ,lord ,christ1 if   

there be among us any ,christ2 to the   
grace of the ,king's ,majesty1 if there 
be among us any ,king2 and to the grace 
even of ,christless and ,kingless       
,manhood1 if there be among us any      
,manhood4  ,to this fixed conception of 
a difference between ,better and ,worse1
 or1 when carried to the extreme1       
between good and evil in conduct1 we    
all1 it seems to me1 instinctively and1 
therefore1 rightly1 attach the term of  
,moral sense2--the sense1 for instance1 
that it would be better if the members  
of this ,society who are usually        
automatically absent were1 instead1     
automatically present2 or better1 that  
this ,paper1 if 7which is1 perhaps1 too 
likely7 it be thought automatically     
impertinent1 had been made by the       
molecular action of my cerebral         
particles1 pertinent4   #agh4 ,trusting1
 therefore1 without more ado1 to the    
strength of rampart in this ,old ,sarum 
of the ,moral sense1 however subdued    
into vague banks under the modern       

steam-plough1 ,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 ,council1 
of the third direction of development   
above specified as being the properly   
called moral one2 and will go on to the 
second subject of inquiry1 both more    
difficult and of great practical        
importance in the political crisis      
through which ,europe is                
passing1--namely1 what relations between
 men are to be desired1 or with         
resignation allowed1 in the course of   
their ,moral ,development8  ,whether1   
that is to say1 we should try to make   
some men beautiful at the cost of       
ugliness in others1 and some men        
virtuous at the cost of vice in         
others1--or rather1 all men beautiful   
and virtuous in the degree possible to  
each under a system of equitable        
education8 ,and evidently our first     
business is to consider in what terms   
the choice is put to us by ,nature4     

,what can we do1 if we would8 ,what must
 we do1 whether we will or not8 ,how    
high can we raise the level of a        
diffused ,learning and ,morality8 and   
how far shall we be compelled1 if we    
limit1 to exaggerate1 the advantages and
 injuries of our system8 ,and are we    
prepared1 if the extremity be           
inevitable1 to push to their utmost the 
relations implied when we take off our  
hats to each other1 and triple the tiara
 of the ,saint in ,heaven1 while we     
leave the sinner bareheaded in ,cocytus8
   #agi4 ,it is well1 perhaps1 that ,i  
should at once confess myself to hold   
the principle of limitation in its      
utmost extent2 and to entertain no doubt
 of the rightness of my ideal1 but only 
of its feasibility4 ,i am ill at ease1  
for instance1 in my uncertainty whether 
our greatly regretted ,chairman will    
ever be ,pope1 or whether some people   
whom ,i could mention1 7not1 of course1 
members of our ,society17 will ever be  
in ,cocytus4  ,but there is no need1 if 

we would be candid1 to debate the       
principle in these violences of         
operation1 any more than the proper     
methods of distributing food1 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 eating1 and the   
rest of having nothing to eat4 ,i will  
therefore take for example a case in    
which the discrimination is less        
conclusive4   #ahj4 ,when ,i stop       
writing metaphysics this morning it will
 be to arrange some drawings for a young
 lady to copy4 ,they are leaves of the  
best illuminated ,,mss4 ,i have1 and ,i 
am going to spend my whole afternoon in 
explaining to her what she is to aim at 
in copying them4  ,now1 ,i would not    
lend these leaves to any other young    
lady that ,i know of2 nor give up my    
afternoon to1 perhaps1 more than two or 
three other young ladies that ,i know   
of4 ,but to keep to the first-instanced 
one1 ,i lend her my books1 and give her1

 for what they are worth1 my time and   
most careful teaching1 because she at   
present paints butterflies better than  
any other girl ,i know1 and has a       
peculiar capacity for the softening of  
plumes and finessing of antenn4 ,grant  
me to be a good teacher1 and grant her  
disposition to be such as ,i suppose1   
and the result will be what might at    
first appear an indefensible iniquity1  
namely1 that this girl1 who has already 
excellent gifts1 having also excellent  
teaching1 will become perhaps the best  
butterfly-painter in ,england2 while    
myriads of other girls1 having          
originally inferior powers1 and         
attracting no attention from the ,slade 
,professor1 will utterly lose their at  
present cultivable faculties of         
entomological art1 and sink into the    
vulgar career of wives and mothers1 to  
which we have ,mr4 ,mill's authority for
 holding it a grievous injustice that   
any girl should be irrevocably          
condemned4   #aha4 ,there is no need    

that ,i should be careful in enumerating
 the various modes1 analogous to this1  
in which the ,natural selection of which
 we have lately heard1 perhaps1 somewhat
 more than enough1 provokes and approves
 the ,professorial selection which ,i am
 so bold as to defend2 and if the       
automatic instincts of equity in us1    
which revolt against the great ordinance
 of ,nature and practice of ,man1 that  
to him that hath1 shall more be given1  
are to be listened to when the          
possessions in question are only of     
wisdom and virtue1 let them at least    
prove their sincerity by correcting1    
first1 the injustice which has          
established itself respecting more      
tangible and more esteemed property2 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    
three1 to every man with a thousand1    
thirty1 and to every man with nothing1  
none4   #ahb4 ,i am content here to     

leave under the scrutiny of the evening 
my general statement1 that as human     
development1 when moral1 is with special
 effort in a given direction1 so1 when  
moral1 it is with special effort in     
favour of a limited class2 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 class1 or
 the privileges of the elect1 may       
advisably extend4 ,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 virtue2   
and that even the simplest and lowest of
 the rabble should not be so absolutely 
sons of perdition1 but that each might  
say for himself1--,for my part--no      
offence to the ,general1 or any man of  
quality--,i hope to be saved4 ,whereas  
it is1 on the contrary1 implied by the  

habitual expressions of the wisest      
aristocrats1 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 phrase1 ,justus1 
et tenax propositi1 will in the course  
of nature be opposed by a civic ardour1 
not merely of the innocent and ignorant1
 but of persons developed in a contrary 
direction to that which ,i have ventured
 to call moral1 and therefore not merely
 incapable of desiring or applauding    
what is right1 but in an evil harmony1  
prava jubentium1 clamorously demanding  
what is wrong4   #ahc4 ,the point to    
which both ,natural and ,divine         
,selection would permit us to advance in
 severity towards this profane class1 to
 which the enduring ,ecce ,homo1 or     
manifestation of any properly human     
sentiment or person1 must always be     
instinctively abominable1 seems to be   
conclusively indicated by the order     

following on the parable of the         
,talents1--,those mine enemies1 bring   
hither1 and slay them before me4 ,nor   
does it seem reasonable1 on the other   
hand1 to set the limits of favouritism  
more narrowly4 ,for even if1 among      
fallible mortals1 there may frequently  
be ground for the hesitation of just men
 to award the punishment of death to    
their enemies1 the most beautiful story1
 to my present knowledge1 of all        
antiquity1 that of ,cleobis and ,bito1  
might suggest to them the fitness on    
some occasions1 of distributing without 
any hesitation the reward of death to   
their friends4 ,for surely the logical  
conclusion of the ,bishop of            
,peterborough1 respecting the treatment 
due to old women who have nothing       
supernatural about them1 holds with     
still greater force when applied to the 
case of old women who have everything   
supernatural about them2 and while it   
might remain questionable to some of us 
whether we had any right to deprive an  

invalid who had no soul1 of what might  
still remain to her of even painful     
earthly existence2 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 soul1 to the distant and inoffensive 
felicities of heaven4   #ahd4 ,but ,i   
believe my hearers will approve me in   
again declining to disturb the serene   
confidence of daily action by these     
speculations in extreme2 the really     
useful conclusion which1 it seems to me1
 cannot be evaded1 is that1 without     
going so far as the exile of the        
inconveniently wicked1 and translation  
of the inconveniently sick1 to their    
proper spiritual mansions1 we should at 
least be certain that we do not waste   
care in protracting disease which might 
have been spent in preserving health2   
that we do not appease in the splendour 
of our turreted hospitals the feelings  
of compassion which1 rightly directed1  
might have prevented the need of them2  

nor pride ourselves on the peculiar form
 of ,christian benevolence which leaves 
the cottage roofless to model the       
prison1 and spends itself with zealous  
preference where1 in the keen words of  
,carlyle1 if you desire the material on 
which maximum expenditure of means and  
effort will produce the minimum result1 
here you accurately have it4   #ahe4 ,i 
cannot but1 in conclusion1 most         
respectfully but most earnestly1 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 paper2 or  
at least to explain to her bewildered   
populace the real meaning and force of  
the ,ten ,commandments1 whether written 
originally by the finger of ,god or     
,man4 ,to me personally1 ,i own1 as one 
of that bewildered populace1 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 ,divines2 but if not1   
and the common application of the terms 
,word of ,god to the books of ,scripture
 be against all question tenable1 it    
becomes yet more imperative on the      
interpreters of that ,scripture to see  
that they are not made void by our      
traditions1 and that the ,mortal sins of
 ,covetousness1 ,fraud1 ,usury1 and     
contention be not the essence of a      
,national life orally professing        
submission to the laws of ,christ1 and  
satisfaction in ,his ,love4  ,j4        
,,ruskin4      ,thou shalt not covet2   
but tradition     ,approves all forms of
 ,competition4  ,,arthur ,,clough4      
,,index4  ,transcriber's note3 entries  
here of page numbers followed by n4     
should indicate that references will be 
found in a note on that page number4    
,however1 most of these references to   
notes on particular pages are           
inaccurate4 ,the direct page number     

links1 however1 are accurate4  7,the    
references are made to the numbered     
paragraphs1 not to the pages1 and are   
thus applicable to every edition of the 
book since that of #ahhj47              
,accumulation of learning1 its law1 #gc4
  ,accuracy and depth of study1         
distinct1 #aheg pref4  ,admiration1     
increase of1 a test of progress in art1 
#afg4  ,almsgiving1 #adb4               
parish1 c41 #abi4  ,almshouses1         
decoration of1 #aae4                    
prejudice of poor against1 #abi-cj4     
,alpine climbing1 risks of1 #aea4       
,ambition1 in youth and age1 #bf4       
,america1 absence of great art in1 #hg4 
bad shipbuilding in1 #aab n4            
commercial panic in1 #aea4  ,ancestors1 
respect for their work insisted on1 #gb4
  ,architecture1 ,gothic1 sculpture to  
be in easiest materials1 #cd4           
to be studied at ,verona1 #gf4          
variety in1 to be demanded1 #cb4        
cheapens the price1 ib4  ,arcola1 battle
 of1 #gg4  ,arethusa1 the1 and the      

,belle-,poule engraving1 #adg4  ,greek3 
,aret and art1 #aee4  ,art1 cheap1 its  
purchase1 #dj4            great art not 
to be too cheap1 and why1 #fb seq4      
demand for good1 and the possibility of 
having too much1 #ch4      dress1 beauty
 of1 essential to good art1 #ed4        
education in 7author's paper on71 #aec  
seq4    function of1 to exalt as well as
 to please1 #ch4    -gift and art-study1
 #agb4    good1 to be lasting in its    
materials and power1 #ci4       to be   
done for and be worthy of all time1 #df4
    great1 the expression of a great    
soul1 #acf4    has laws1 which must be  
recognised1 #aeg4    -intellect in a    
nation1 cannot be created1 #bj-a4    its
 debt to ,italy1 #hb4    labour and1    
#ai4       the labour to be various1    
easy1 permanent1 #ca seq4    literature 
and1 the cost of1 #fg4    love of old1  
essential to produce new1 #hh4          
materials of1 to be lasting1 #ci1 #db4  
models in art schools1 #afb-d4    modern
 interest in1 #afh4          objects of1

 and old pictures1 #hf4    original     
work1 the best to buy1 #da4             
permanency of--e4g41 a painted window1  
#cg4    -power a gift1 #aeh4       in a 
nation1 how to produce1 #acb4           
waste of1 on perishable things1 #de4    
preservation of works of1 #gc-d4        
7#aheg7 more important than production1 
#ib4    price of good1 #da4 ,see s4     
,pictures4    progress in1 tested by    
increased imagination1 #afg4    public  
to demand noble subjects of1 #bi4       
effect of public demand on1 #afe4       
repetition in1 monotonous1 #cb4         
schools1 trial1 #bb-c4       provincial1
 to have good art-models1 #afi4         
students1 #aec seq4    -study will not  
pay1 #agd4    test of good1 will it     
please a century hence8 #ci4    value   
of1 depends on artist's capacity1 not   
education1 #acf4    variety of work1    
#cb4    work1 hard1 needed for1 #aeh4   
works of1 illustrate each other1 #fc4   
works of1 property in1 #adg4            
provincial distribution of1 #afi4       

their conservative effect1 #acb n4      
to be lasting1 #cf4   ,see s4           
,admiration1 ,america1 ,architecture1   
,arethusa1   ,aret1 ,artist1 ,beauty1   
,buildings1 ,cheapness1 ,colour1        
,criticism1 ,design1 ,diletto1 ,drawing1
 ,dress1 ,education1   ,europe1         
,florence1 ,france1 ,genius1 ,glass1    
,gold1 ,goldsmiths1   ,historical       
painting1 ,indian shawls1 ,italy1       
,jewels1 ,labour1   ,lace1 ,lombard1    
,marble1 ,mosaic1 ,painter1 ,philosophy1
 ,pictures1   ,reverence1 ,schools1     
,trade1 ,wall-paper1 ,war1 ,water       
colour1 ,wealth1 ,woodcuts4  ,artist1   
education of the1 to be a               
gentleman--i4e41 feel nobly1 #bh4       
encouragement of1 in youth1 #bc4        
goldsmith's work1 good training for1    
#df4    greatest1 have other powers than
 their art1 #ba4    jealousy among1 #ih4
    modern training of1 #acb4           
nascitur non fit1 #bj4    temper of1    
what1 #acb4    to be a good man1 #bh4   
trial schools to discover1 #bb-c4   ,see

 s4 ,drer1 ,francia1 ,gainsborough1     
,ghiberti1   ,ghirlandajo1 ,giotto1     
,leonardo1 ,lewis1 ,lorenzetti1         
,michael ,angelo1 ,rembrandt1 ,reynolds1
 ,tintoret1 ,titian1   ,turner1         
,veronese1 ,verrocchio4  ,asphodel      
meadows of our youth1 #bf4  ,athletic   
games and education1 #abh4  ,austrians1 
in ,italy1 #gh4  ,author1 his idea of a 
knight1 when a child1 #ajf4             
teaching young lady to copy old ,,ms41  
#ahj4   life of3     at ,brantwood1     
,april #bi1 #ahhj4    ,manchester1 ,july
 #aj and #ac1 #aheg1 #a1 #fa4           
,metaphysical ,society1 #ahge1 #age4    
,oxford1 art teaching1 pref4 ix4        
,working ,men's ,college1 #aef4         
,venice1 #ada n4    teaching of3        
misunderstood1 #ahj4     political      
economy1 has read no modern books on1   
#aheg pref4     political influence of  
art1 #ahhj pref4     true wealth        
honoured by1 #a4     words fail him to  
express modern folly1 #di4    books of1 
quoted1 c43      ,a ,joy for ,ever      

contains germs of subsequent work1 #ahhj
 pref4         revision for press1 #aheg
 pref4        title1 #ahhj pref4     on 
his own writings1 #adj4     they cost   
him pain1 and he does not expect then to
 give pleasure1       #ahhj pref4       
,barataria1 the island of 7,don ,quixote
 71 #fe4  ,beauty in art1 on what based1
 vi4  ,bible1 ,the1 to be realised as   
7not only called7 ,god's ,word #ahe4    
,quoted1 or referred to4     ,job iii4  
#c1 ,let the day perish wherein ,i was  
born 444 a child conceived1       #aai4 
xxxi4 #dj1 ,let thistles grow instead of
 wheat1 c41 #aja4     ,ps4 xxxii4 #h1 ,i
 will guide thee with mine eye1 #ah4    
xxxii4 #i1 ,be ye not as the horse or   
mule1 #ah4       c4 #d1 ,enter into ,his
 gates with thanksgiving1 #ahhj pref4   
,prov4 i4 #bj1 ,wisdom uttereth her     
voice in the streets1 #aab n4       iii4
 #ae1 ,wisdom more precious than rubies1
 #agd4       iii4 #af1 ,length of days  
are in her right hand1 c41 #acj4        
iii4 #ag1 ,her ways pleasantness and her

 paths peace1 #abj4       xiii4 #bc1    
,much food is in the tillage of the     
poor1 #g n4       xxxi4 #ae1 ,she riseth
 while it is yet night1 #i1 #eh4        
xxxi4 #be1 ,strength and honour are in  
her clothing1 c41 #fj4     ,hab4 ii41   
its practical lessons1 #aab n4       ii4
 #f1 ,woe to him 444 that ladeth himself
 with thick clay1 #aab n4       ii4 #ab1
 ,woe to him that buildeth a town with  
blood1 #aab n4       ii4 #ac1 ,the      
people weary themselves for vanity1 #aab
 n4     ,zach4 vii4 #i1 #aj1 ,execute   
true judgment 444 and let none imagine  
evil1       c41 #aab n4     ,matt4 vii4 
#af1 ,gather figs of thistles1 #acc4    
,luke xix4 #bf1 ,to him that hath shall 
be given1 #aha4       xix4 #bg1 ,those  
mine enemies bring hither and slay them 
before me1 #ahc4     #b ,thess4 iii4    
#aj1 ,if any work not1 neither shall he 
eat1 #ade4  ,books1 not to be too cheap1
 and why1 #fe4    numbers of1 nowadays1 
and the result1 #adj4  ,botany1 what to 
learn in1 #abh4  ,bridle of man1 the    

,eye of ,god1 #ah4  ,brotherhood--,all  
men are brothers1 what it implies1 #ad4 
politically and divinely1 #aba4         
,browning1 ,e4 ,b41 on ,italy1 #gh n4   
,buildings1 public1 their decoration1   
#ajd4   ,capitalist1 the1 his command   
over men1 #d4  ,carlyle1 ,t41 on the    
value of horses and men1 #ah4    keen   
words of1 quoted1 #ahd4  ,casa ,guidi1  
windows of the1 referred to1 #cf n4     
,charity1 crowning kingship 7,siena     
fresco71 #ei4    in preserving health1  
not in protracting disease1 #ahd4    is 
guidance1 #abg4    not a geographical   
virtue1 #ha4    true1 defined1 #aah4    
,charon1 #c4  ,chartres1 #hf4           
,cheapness not to be considered in      
producing art1 #cg4    of good art1     
undesirable and why1 #fb seq4  ,cheating
 disgraceful1 but being cheated is not1 
#hi4  ,church-going and life1 #ad4      
restoration1 mania for1 #hf-g4  ,clarke1
 ,dr4 ,adam1 at the ,metaphysical       
,society1 #agf4  ,cleobis and ,bito1    
death of1 #aji4    story of1 beautiful1 

#ahc4  ,clergymen1 to preach            
practically--e4g41 on trade1 #aab n4    
,cleverness1 best shown in sympathy with
 the aims of others1 #agj4  ,clough1    
,arthur1 quoted1 #ahe n4  ,cocoa-nut1   
simile from a1 as to the cheapness of   
good art1 #fd4  ,colour1 good1 to be    
lasting1 #dd4    local1 as an element of
 chiaroscuro1 #afb4  ,commerce1         
cowardice and1 #agg4    frauds of1      
#aea-b4    modern1 #aheg pref4 xi4      
,competition1 a bad thing in education1 
#ace4  ,conservatism1 true1 #eh4        
,country1 serving one's1 with plough1   
pen1 and sword1 #abi4  ,cricket1 the    
game of1 #abh4  ,criticism1 mistaken    
blame worse than mistaken praise1 #bd4  
public1 its effect on artists1 #bd4     
,currency1 national1 its nature1 #adi4  
,dante--,inferno1 the purse round the   
neck as a sign of condemnation1 #d4     
,lasciate ogni speranza1 #ic4  ,deane1  
,sir ,t41 on the ,oxford ,museum1 #cb4  
,death1 as a reward1 #ahc4  ,design1    
dependent on proportion1 #afj4     study

 of1 #aei4     subjects of1 #agb-c4     
,development1 the direction of human1   
#age4  ,dialogue on paternal government1
 #aba4  ,diamond-cutting1 waste of time1
 #cd4  ,dictionary of classical         
antiquities1 woodcuts in1 #ajg4         
,diletto and art1 #aee4  ,diogenes1     
respected1 #b-c4  ,discipline the basis 
of progress1 #af4  ,discovery of men of 
genius1 #bj4  ,disobedience destroys    
power of understanding1 #aheg pref4 x4  
,drawing as a means of description1     
#aec4     lessons1 #aef4     to be      
learnt1 as reading or writing1 #aec1    
#aeh4     to scale1 to be learnt1 #afj4 
,dress1 art of1 #dg4    beautiful1      
essential to great art--e4g41 its       
portraiture1 #ed4       characteristics 
of1 #ed4       a means of education1    
#ed4     best1 not the costliest1 #ed4  
employment of labour--e4g41             
ball-dresses1 #ej4    fashion in1 wasted
 power of design1 #de4    fine1 the     
spoils of death1 #ec4      as a subject 
of expenditure1 #adf4      under what   

circumstance1 right and wrong1 #eb4     
lace1 its value1 #aga4  ,drer's         
engravings1 art-models1 #afi4           
permanency of1 #db4            crest    
with cock1 as art-model1 #afd4          
woodcuts1 #dj4   ,economy1 its true     
meaning 7application3 accumulation3     
distribution71 #h seq4     the art of   
managing labour1 #g1 #h4     the balance
 of splendour and utility1 #aj4     does
 not mean saving money1 #h4     simile  
of farm life1 #aa4    the laws of1 same 
for nation and individual1 #ab seq4     
,see s4 ,almsgiving1 ,author1           
,capitalist1 ,charity1 ,cheating1       
,commerce1 ,currency1 ,education1       
,employment1 ,england1 ,farm1           
,gentlemen1 ,gold1 ,labour1 ,land1      
,luxury1 ,money1 ,national works1       
,panics1 ,parish relief1 ,pension1      
,political ,economy1 ,poor1 ,poverty1   
,property1 ,trade1 ,wealth4  ,education1
 best claimed by offering obedience1    
#af4     drawing to be part of1 #aef4   
dress as a means of1 #ed4     eye1 the  

best medium of1 #ajf4     formative1 not
 reformative only1 #ae4     in ,art1    
author's paper on1 #aec seq4     liberty
 to be controlled by1 #abh4     manual  
trade to be learnt by all youths1 #abh4 
modern1 #ace4         in ,england1 its  
bad tendency1 #agg4     schools of1 to  
be beautiful1 #ajd-e4     refinement of 
habits1 a part of1 #ajd4     waste of1  
on dead languages1 #abh4     young men1 
their1 #acd4  ,edward ,i41 progress     
since the days of1 #aheg pref4          
,emotion1 quickness of1 is not capacity 
for it1 #acb4  ,employment1 may be      
claimed by the obedient1 #af4  ,england1
 art-treasures in1 their number1 #e4    
modern1 its ugliness1 #agf4     the rich
 men of1 their duty1 #aah-i4  ,english  
character1 impulse and prudence of1 #ag4
         self-dependence1 #acj4  ,envy1 
vile1 #agg4  ,europe1 no great art1     
except in1 #hg4  ,examinations1 their   
educational aim and value1 #acf4  ,eye1 
the1 nobler than the ear1 and a better  
means of education1 #ajf4   ,faith1     

frescoes of1 ,ambrozio ,lorenzetti1     
,siena1 #eg4     kinds of1 #eg4         
,famine1 how it comes1 #acc4  ,fancy1 as
 essential to fine manufacture1 #agb4   
,farm1 metaphor of a1 applied to        
national economy1 #aa4  ,fashion1 change
 of1 as wasting power of design1 #de4   
,florence1 art and dress of1 #ed4       
drawing at1 #adjj-aejj1 art-models1     
#afi4  ,fools1 the wise to take of the1 
#aah4  ,france1 art in1 great1 and      
beautiful dress1 #ed4     ,english      
prejudice against1 #ha4     social      
philosophy in1 fraternit a true         
principle1 #ad4  ,francia1 a goldsmith1 
#df4  ,frescoes1 whitewashing of        
,italian1 #he4  ,fraternity implies     
paternity1 #ad 7cp4 ,time and ,tide1    
#agg74  ,funeral1 ,english love of a    
decent1 #gj4   ,gainsborough1 his want  
of gentle training1 #bh4      learns    
from ,italian art1 #hb4  ,genius1 men   
of1 and art1 four questions as to       
7production1 employment1                
accumulation1 distribution71 #ai4       

their early struggles1 due to their     
starting on wrong work1 #bc4            
,gentlemen1 tradesmen to be accounted1  
#aad4  ,ghiberti's gates1 ,m4 ,angelo   
on1 #df4     a goldsmith1 #df4          
,ghirlandajo1 a goldsmith1 #df4      ,m4
 ,angelo's master1 #df4  ,giotto's      
frescoes1 ,assisi1 perishing for want of
 care1 #hf4     discovered by ,cimabue1 
#acc4  ,glass1 cut1 waste of labour on1 
#cd4    painted1 ,french #abjj-acjj1 the
 best1 #afi4  ,god always sends men for 
the work1 but we crush them1 #acc4      
,his work1 its fulfilment by men1 #abb4 
,gold1 its uses1 as a medium of         
exchange1 #aej4      incorruptible and  
to be used for lasting things1 #df4     
not therefore to be used for coinage1   
#df4  ,goldsmiths1 artists who have     
been1 #df4    educational training for  
artists1 #df n4    work of1 #de seq4    
,government1 enforcement of divine law1 
#aba4    in details1 #abb seq4          
paternal1 #ad4       in loco parentis1  
#af n4      defined1 #aba4    principles

 of1 at the root of economy1 #aa        
,faith1 ,hope1 ,charity1 #eg4    to be  
conservative1 but expectant1 #eh4    to 
form1 not only reform1 #ae4     to give 
work to all who want it1 #abi4  ,great  
men and the public1 #acg    the work    
they are sent to do1 #acc  ,greatness1  
the humility of1 #acg4  ,greece1        
development of physical beauty1 #agf4   
,guilds of trade1 decoration of their   
buildings1 #aaf seq4   ,hesiod's ,eris1 
#agf4  ,historians1 mistaken way of     
pointing out how great men are fitted   
for   their work1 #acc4  ,historical    
painting as a means of education1       
#ajf-g4  ,history1 the study of medival1
 as well as ancient1 insisted on1 #aji4 
,horace1 justus1 et propositi tenax1    
#ahb4     prava jubentium1 ib4  ,horse  
and man1 bridling of1 #ah4  ,hospitals1 
decoration of1 #aad4  ,housewife1 her   
seriousness and her smile1 #aj4         
,housewifery1 perfect1 #aj4  ,humility  
of greatness1 #acg4    the companion of 
joy and usefulness1 #afh4               

,illustrations1 modern1 bad art of1 #dj4
  ,independence1 dishonest efforts      
after1 #aca4  ,indian shawls1 design of1
 #agc4  ,industry1 its duty to the past 
and future1 #gb4  ,infidelity1 modern1  
#agg4  ,invention1 national1 of new     
wants1 #ach4  ,inventors1 to be publicly
 rewarded1 but to have no patents1 #aac4
  ,island1 desert1 analogy of a1 and    
political economy1 #aaj4  ,italy1       
,austrians in1 #gh4    cradle of art1   
#hb4    destruction of art in modern1   
#hd4    modern art of1 #he4    state of1
 #aheg1 #hd4    thunderclouds in1 the   
winepress of ,god's wrath1 #gg4         
,italian character1 #hd4   ,jewels1     
cutting of1 #eb4    modern1 bad and     
costly1 #aei4    property in1 #adf4     
,jews1 ,christian dislike of1 #ha4      
,keats1 quoted1 a joy for ever1 #ahhj   
pref4 ix-x4  ,king1 the virtues of a    
7,siena fresco71 #fj4  ,kingship1       
crowned by charity 7,siena fresco71 #ei4
    modern contempt for1 #agg4          
,labour1 a claim to property1 #ade4     

constant1 not intermittent1 needed1 #aa4
    end of1 is happiness1 not money1    
#agd4       to bring the whole country  
under cultivation1  #ab4    management  
of1 is economy1 #g4    organisation of1 
no out of work cry1 #aa-ab4      under  
government1 planned1 #abg-ca4           
sufficiency of a man's labour for all   
his needs1 #g4              nation's    
its    #g4  ,labour1 continued2--       
waste of1 in various kinds of useless   
art1 cut-glass1 mosaic1 c1 #cd4         
dress1 #ej seq4  ,lace-making1 #eb4     
machine and hand-made1 #agj4    value   
of1 in its labour1 #aga4                
,laissez-aller1 a ruinous principle1    
#af4  ,land1 the laws of cultivation1   
the same for a continent as for an acre1
 #ab4   -owners1 their duties1 #adc4    
,law and liberty1 #abc4    most irksome1
 when most necessary1 #ae4    principles
 of1 applied to minor things1 #abc4     
should regulate everything it can1 #abf4
    systems of1 none perfect1 #abd4     
to be protective1 not merely punitive1  

#ae4  ,legislation1 paternal1 dialogue  
on1 #aba4  ,leonardo da ,vinci1 an      
engineer1 #ba4        pupil of          
,verrocchio1 #df4       work by1 at     
,florence1 #afd4  ,leonidas' death1     
#aji4  ,lewis1 ,john1 his work1 and its 
prices1 #ajb n4  ,liberalism in         
government1 true1 #eh4  ,liberty1 law   
and1 #abc4    to be interfered with1 for
 good of nation1 #abc-bf4  ,life1       
battles of early1 for men of genius1    
#bc4    ideal of1 simplicity plus       
imagination1 #adg4  ,literature1 cheap1 
modern1 #fe4  ,lombard architecture at  
,pisa and ,verona1 #gf4  ,london season1
 cost of1 in dress1 #ee4  ,look1 people 
will not1 at things1 #ada4  ,lorenzetti1
 ,ambrozio1 his frescoes of government  
at ,siena1 #eg4  ,love and ,kingship1   
see s4 ,charity4  ,luxury1 articles of1 
as property1 #adf4     does not add to  
wealth1 #dh4    the influences of1 #ach4
  ,macaulay's false saying1 the giants  
of one age1 the pigmies     of the next1
 #afh4  ,magnanimity1 the virtue of1 its

 full meaning1 #fj4  ,mammon worship1 in
 ,english commercial centres1 #aea4     
,manchester ,art ,treasures ,exhibition 
#aheh1 #e1 #fi4      motto of1 ,a joy   
for ever1 #ahhj pref4  ,mansfield ,art  
,night ,class1 address to1 #ahgc1 #aff  
seq4  ,manufacture1 defined1 #afi4      
,marathon1 #aji4  ,marble1 a better     
material for sculpture than granite1    
#cd4  ,marriage1 desire for1 in girls1  
#ee4  ,medici1 ,pietro de1 orders ,m4   
,angelo's snow-statue1 #cf4  ,menippus1 
#c4  ,metaphysical ,society1 author1    
,may #d1 #ahge1 reads paper at1 #age4   
,michael ,angelo1 author's praise of1   
#cf4      ,ghirlandajo's pupil1 #df4    
on ,ghiberti's gates1 #df4              
snow-statue1 #cf4  ,mill1 ,j4 ,s41 on   
wealth1 #aden4      on women1 #ahj4     
,misery1 always the result of indolence 
or mistaken industry1 #g4  ,mistress1 of
 a house1 ideal1 described1 #i1 #aj4    
,modernism1 contempt for poverty and    
honour of wealth1 #a seq4   ,see s4     
,commerce1 ,education1 ,england1 ,italy1

 ,wealth4  ,money1 a document of title1 
#adh4    ,god's gift and not our own1   
and why1 #aaf seq4    great work never  
done for1 #ih1 #ajb4    spending1 is to 
employ labour1 #dh4    the way we spend 
it1 important1 #dh-i4  ,morality1       
mechanical basis of1 #agf4    not to be 
limited to a class1 #ahb4  ,moral sense1
 the1 defined1 #agg4  ,mosaic1          
,florentine1 waste of labour1 #cd4      
,motive1 the only real1 and rightness1  
#ha4  ,mourning1 ,english love of1 #gj4 
,museums1 provincial1 art-models for1   
#afi4   ,national works1 as a means of  
art employment1 #bd4  ,nations in       
brotherly concord and fatherly          
authority1 #ad4    energy of1 to be     
directed1 #af4    laws of1 to be        
protective as well as punitive1 #ad4    
,natural forms1 as subjects of design1  
#agb4    ,history1 the study of1 to be  
extended1 #aee4    ,science1 and        
drawing1 #aef4  ,new ,york1 council of1 
on luxury1 #achn4  ,nottingham lace1    
#agj4  ,novara1 battle of1 #gg4         

,obedience1 to what we dislike1 #aheg   
pref4  ,obstinacy of great men against  
the public1 #acg-h4  ,overwork1 decried1
 #aa4  ,oxford ,museum1 ,sir ,t4 ,deane 
on the1 #cb4   ,painter1 poverty of     
early years1 #ajj4    prices paid to a1 
#ih4  ,panics1 commercial--e4g41 #aheg1 
#aea4  ,paper1 necessity of good1 for   
water-colour art1 #dc4  ,parable1 ,the  
,ten ,talents1 its practical            
application1 #aad-ae4  ,parents1 noble  
delight of pleasing one's1 possible only
 to the young1 #bg4  ,paris1 destruction
 of1 #ahgj-a1 #afh4  ,parish relief1 no 
more infra dig4 than ,state pensions1   
#abi4  ,patents1 no1 but private        
inventions to be publicly rewarded1     
#aac4  ,patriotism1 what1 #ha4          
,pensions1 are ,government alms1 #abi4  
,peterborough1 ,bishop of1 paper read at
 ,metaphysical ,society1 #agf1 #ahc1    
#ahe4  ,photography1 as a means of      
providing art-models1 #afd4             
collections of ,florentine ,gallery     
photos1 ib4  ,pictures1 copies of1 to be

 made1 but not to be bought1 #ij4       
dealers1 and old pictures1 #he4         
destruction of1 #fi4    galleries1 in   
all great cities1 #ia4      their       
supervision and curators1 #ic4          
pictorial method of education1 #ajf seq4
    price of1 #aja1 #ch4  ,pictures1    
price of1 continued3--      effect of   
high prices on artists and on art1 #ig  
seq4      by living artists1 shows not  
value1 but demand1 #aja4      by dead   
and living masters1 #ajc4      modern   
prices1 #ch4      of oil and            
water-colour1 #ajb n4      to be limited
 but not too cheap1 #ff1 #ie-f4         
private possession of1 its value1 #ic-d4
    purchase of1 private buyers to buy  
the works of living artists1     the    
public those of dead1 #ajc1 #id1 #e4    
for ostentation1 #aja4      the         
government to buy great works1 #hi4     
restoration of1 notes of1 to be kept for
 reference1 #id n4      in ,italy1 #he4 
sale of a picture1 its                  
politico-economical effect1 #acb n4     

studies for1 tracings1 and copies of1 to
 be kept1 #ij seq4  ,pisa1 architecture 
at1 #gf4    ,campo ,santo1 ,the1 #hb4   
,plate1 changes of fashion in1 deplored1
 #de4    gold and silver to be gradually
 accumulated1 not melted down and       
remodelled1 #df4  ,ploughing1 boys to   
learn1 #abh4  ,political economists1    
their thrift1 #hi4    ,economy1 modern  
books on1 #aheg pref4      the aim of   
true1 #ade4      is citizen's economy1  
#aheg pref4      definition and true    
meaning of1 #acb n4      first          
principles of1 simple but misunderstood1
 #aheg pref4      its questions to be   
dealt with one by one1 #ch4      study  
of1 to be accurate1 if not deep1 #aheg  
pref4      secrecy in trade bad1 #aaj   
seq4      ,see s4 ,economy4  ,politics1 
,english1 #hb4    ,european1 #ahdh1     
#aheg1 #hj4    ,see s4 ,conservatism1   
,liberalism4  ,poor1 the1 their right to
 ,state education and support1 #abg4    
,poor1 the1 continued2--    are kept at 
the expense of the rich1 #abg n4    to  

be taken care of1 #aah4  ,poverty1      
classical writers on1 #b4    medival    
view of1 #d4    modern contempt for1    
just and right1 #a seq4  ,posterity1    
thought for1 #gb4  ,praise1 only the    
young can enjoy1 for the old are above  
it1     if they deserve it1 #bf4        
,pride1 as a motive of expenditure1 #gi4
  ,prize-giving1 a bad thing in         
education1 #ace4    its true value and  
meaning1 #aff4  ,productive and         
unproductive transactions1 #acb n4      
,progress1 modern1 since ,edward ,i41   
#aheg pref4  ,property1 division of1    
into things producing 7a7 life1 7b7 the 
objects of     life1 #add seq4    the   
right of1 to be acknowledged1 #adb4     
,providence1 notion of a special1 #acc4 
,public1 the1 favour of1 #acg4    great 
men and1 #acg4    impatient of what it  
cannot understand1 #adj-a4  ,punishment1
 the rationale of human1 #abc4          
,purse-pride1 modern and ancient1 #b4   
,railway speed1 #hf4  ,raphael's        
,disputation1 #adg4  ,religion1         

national1 its beauty1 pref4             
,rembrandt's spotted shell as a model in
 etching1 #afd4  ,renaissance           
architecture at ,verona1 #gf4           
,restraint1 the law of life1 #af4       
,reverence for art1 a test of art power1
 #afg4  ,reynolds1 ,sir ,j41 learns much
 from ,italian art1 #hb4    portraits   
of1 models of art1 #afi4  ,rich1 the    
duty of the strong and1 #aah4  ,riding1 
as part of education1 #abh4  ,rowing1 as
 part of education1 #abh4   ,st4        
,albans1 ,duke of1 reads paper for      
author at ,mansfield1 #aff n4  ,st4     
,louis' chapel at ,carcassonne1         
painting1 #hf4  ,salvation1 not to be   
limited to a class1 #ahb4  ,school      
,board1 the1 #agg4  ,schools of art1    
bare schoolrooms do not fix the         
attention1 #aje4      decoration of1    
reasons for1 #ajd4      proposals for1  
#acb4  ,science1 controversy in1 too    
much nowadays1 #age4    education in1   
#abh4    the bridal city of1 #age4      
,selection1 ,natural1 and ,social       

,policy1 paper by author1 #age4         
,shakespeare's ,cliff1 #hi4  ,siena1    
frescoes of ,antonio ,lorenzetti1 #eg4  
,smith1 ,adam1 #aheg pref4  ,soldiers of
 the ploughshare as well as of the      
sword1 #ae4  ,speculation1 commercial1  
#aea4  ,spider1 web of a1 #agj4         
,street1 ,mr41 on the ,ducal ,palace1   
#ada n4  ,students in art1 not to aim at
 being great masters1 #afh4  ,surfaces1 
drawing of round1 c41 #afa4  ,sympathy1 
the cleverness of1 #agj4  ,systems1 not 
easily grasped1 #abh4   ,taste1 defined1
 #aed4    education of1 #afj4           
,tennyson1 ,in ,mem4 ,,lv4 ,of fifty    
seeds1 she often brings but one to bear1
     #acc 7cp4 ,time and ,tide1 #fg74   
,thought1 not to take the place of fact1
 #ada4  ,time1 man is the true          
destroyer1 not1 #gd4  ,times1 ,the1     
,nov4 #bc1 #aheg1 referred to1 #ach n4  
,tintoret's ,st4 ,sebastian 7,venice71  
perishing1 #hf4  ,titian1 eternally     
right1 #aeg4    sketch by 7,florence71  
#afd4    woodcuts of1 #gj4  ,tombs1     

,english waste of money on1 #gh4        
,trade1 art-faculty1 its employment in  
design in1 #cj4    freedom from rivalry1
 healthful1 #aaj seq4    government     
direction of1 #abi4    guilds1          
decoration of their buildings1 #aaj seq4
  ,trade1 guilds1 continued3--          
under public management1 #aad4          
secrecy of1 bad1 #aaj seq4    true      
co-operation in1 what1 #aab4    youths  
to learn some manual1 #abh4  ,tradesmen1
 their modern social position wrong1    
#aad4  ,truth1 dependent on justice and 
love1 #aeb4  ,turner1 prices of his     
pictures1 when a boy1 #ih4    his want  
of gentle training1 #bh4   ,ugliness1 is
 evil1 #agg4  ,usury1 a mortal sin1     
#ahe4  ,utility1 not to be the sole     
object of life1 #aj4   ,vellum1 for     
water-colour drawing1 #dc4  ,venice1 art
 of1 aided by beautiful dress1 #ed4     
,ducal ,palace1 chronology of the       
capital1 #ada n4  ,verona1 amphitheatre 
of1 #gf4    battle-fields of1 #gg4      
greatest art-treasury in the world1 #gf 

seq4    typical of ,gothic architecture1
 #gf4  ,veronese1 ,p41 eternally right1 
#aeg4     ,family of ,darius1 purchased 
by ,national ,gallery1 for #ad1jjj1 #ee4
  ,verrocchio1 a goldsmith1 #df4        
master of ,leonardo1 #df4  ,virtues1    
the1 fresco of1 by ,a4 ,lorenzetti1 at  
,siena1 #eg4    winged 7,siena71 ib4    
seq4   ,wages1 fixed rate of1 advocated1
 #aac1 #abi4  ,wall-paper1 #aei4        
,wants1 the invention of new1 #ach4     
,war1 destruction of works of art by1   
#ge4  ,water-colour drawings1           
perishable1 and why1 #db4      to be on 
vellum1 not paper1 #dc4  ,wealth1       
author's respect for true1 #a4    duty  
and1 #aai-bj4    earned and inherited1  
#adc4  ,wealth1 continued3--    freedom 
of spending1 to be allowed1 #adb4    how
 gained1 #aag4    means well-being1     
#adg4    medival view of1 #d4    modern 
honour paid to1 #a1 #b4    power of1 #d4
    principles of1 #aad seq4    works of
 art1 how far they are1 #acb n4         
,wealthy1 the1 pilots of the ,state1    

#aai1 #adb4           claims of the poor
 on1 #adc4           way in which they  
should spend their money1 #adc4         
,wisdom1 preciousness of1 #agd4  ,women1
 education of1 drawing1 #aeh-i4    ,j4  
,s4 ,mill on the position of1 #ahj4     
,woodcuts1 cheap and nasty1 #dj4        
,wordsworth's essay on the ,poor ,law   
,amendment ,bill1 #af n4  ,workhouses1  
to be worthy their name1 #aad4          
,working-men's ,college1 drawing at the1
 #aef4   ,youth1 encouragement good for1
 #bf seq4    of a nation1 to be guarded1
 #acd4    work of a1 necessarily        
imperfect1 but blameable1 if bold or    
slovenly1 #be4   ,,the ,,end4  ,printed 
by ,,ballantyne1 ,,hanson  ,,co4        
,edinburgh  ,london