The Two Paths | Page 4

among those desolate Highland moors. And thus you have the differences in capacity and circumstance between the two nations, and the differences in result on the moral habits of two nations, put into the most significant--the most palpable--the most brief opposition. Out of the peat cottage come faith, courage, self- sacrifice, purity, and piety, and whatever else is fruitful in the work of Heaven; out of the ivory palace come treachery, cruelty, cowardice, idolatry, bestiality,--whatever else is fruitful in the work of Hell.
But the difficulty does not close here. From one instance, of however great apparent force, it would be wholly unfair to gather any general conclusion--wholly illogical to assert that because we had once found love of art connected with moral baseness, the love of art must be the general root of moral baseness; and equally unfair to assert that, because we had once found neglect of art coincident with nobleness of disposition, neglect of art must be always the source or sign of that nobleness. But if we pass from the Indian peninsula into other countries of the globe; and from our own recent experience, to the records of history, we shall still find one great fact fronting us, in stern universality--namely, the apparent connection of great success in art with subsequent national degradation. You find, in the first place, that the nations which possessed a refined art were always subdued by those who possessed none: you find the Lydian subdued by the Mede; the Athenian by the Spartan; the Greek by the Roman; the Roman by the Goth; the Burgundian by the Switzer: but you find, beyond this--that even where no attack by any external power has accelerated the catastrophe of the state, the period in which any given people reach their highest power in art is precisely that in which they appear to sign the warrant of their own ruin; and that, from the moment in which a perfect statue appears in Florence, a perfect picture in Venice, or a perfect fresco in Rome, from that hour forward, probity, industry, and courage seem to be exiled from their walls, and they perish in a sculpturesque paralysis, or a many-coloured corruption.
But even this is not all. As art seems thus, in its delicate form, to be one of the chief promoters of indolence and sensuality,--so, I need hardly remind you, it hitherto has appeared only in energetic manifestation when it was in the service of superstition. The four greatest manifestations of human intellect which founded the four principal kingdoms of art, Egyptian, Babylonian, Greek, and Italian, were developed by the strong excitement of active superstition in the worship of Osiris, Belus, Minerva, and the Queen of Heaven. Therefore, to speak briefly, it may appear very difficult to show that art has ever yet existed in a consistent and thoroughly energetic school, unless it was engaged in the propagation of falsehood, or the encouragement of vice.
And finally, while art has thus shown itself always active in the service of luxury and idolatry, it has also been strongly directed to the exaltation of cruelty. A nation which lives a pastoral and innocent life never decorates the shepherd's staff or the plough-handle, but races who live by depredation and slaughter nearly always bestow exquisite ornaments on the quiver, the helmet, and the spear.
Does it not seem to you, then, on all these three counts, more than questionable whether we are assembled here in Kensington Museum to any good purpose? Might we not justly be looked upon with suspicion and fear, rather than with sympathy, by the innocent and unartistical public? Are we even sure of ourselves? Do we know what we are about? Are we met here as honest people? or are we not rather so many Catilines assembled to devise the hasty degradation of our country, or, like a conclave of midnight witches, to summon and send forth, on new and unexpected missions, the demons of luxury, cruelty, and superstition?
I trust, upon the whole, that it is not so: I am sure that Mr. Redgrave and Mr. Cole do not at all include results of this kind in their conception of the ultimate objects of the institution which owes so much to their strenuous and well-directed exertions. And I have put this painful question before you, only that we may face it thoroughly, and, as I hope, out-face it. If you will give it a little sincere attention this evening, I trust we may find sufficiently good reasons for our work, and proceed to it hereafter, as all good workmen should do, with clear heads, and calm consciences.
To return, then, to the first point of difficulty, the relations between art and mental disposition in India and Scotland. It is quite true that the art of India is delicate and