[Illustration: John Ruskin. _From a Photograph by Elliott & Fry_.]
Great advances have been made during this reign in English art and
art-criticism, and more particularly in the extension of real
artistic education to classes of the community who could hardly
attain it before, though it was perhaps more essential to them than
to the wealthy and leisurely who had previously monopolised it. The
multiplication of Schools of Design over the country, intended to
promote the tasteful efficiency of those engaged in textile
manufactures and in our decorative and constructive art generally, is
one remarkable feature of the time, and the sedulous cultivation of
music by members of all classes of society is another, hardly less
hopeful. In all these efforts for the benefit and elevation of the
community the Prince Consort took deep and active interest, and the
royal family themselves, from Her Majesty downwards, highly cultured
and accomplished, have not failed to act in the same spirit. But the
history of English nineteenth-century art would be incomplete indeed
without reference to two powerful influences--the rise and progress
of the new art of photography, which has singularly affected other
branches of graphic work; and the career, hitherto unexampled in our
land, of the greatest art-critic of this, perhaps of any, age--John
Ruskin, the most eminent also of the many writers and thinkers who
have been swayed by the magic spell of Carlyle, whose fierce and
fervid genius, for good or for evil, told so strongly on his
contemporaries. Ruskin is yet more deeply imbued with his master's
philosophy than those other gifted and widely influential teachers,
Maurice and Kingsley; and yet perhaps he is more strongly and
sturdily independent in his individuality than either, while the
unmatched English of his prose style differs not less widely from the
rugged strength of Carlyle than from the mystical involution of
Maurice and the vehement and, as it were, breathless, yet vivid and
poetic, utterance of Kingsley. When every defect has been admitted
that is chargeable against one or all of this group of sincere and
stalwart workers, it must be allowed that their power on their
countrymen has been largely wielded for good. Particularly is this
the case with Ruskin, whose influence has reached and ennobled many a
life that, from pressure of sordid circumstances, was in great need
of such help as his spirituality of tone, and deeply felt reverential
belief in the Giver of all good and Maker of all beauty, could
afford.
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