[5] See note 4th, in Addenda.
[6] See the noble passage on this tradition in "Casa Guidi Windows."
[7] Several reasons may account for the fact that goldsmith's work is so wholesome for young artists: first, that it gives great firmness of hand to deal for some time with a solid substance; again, that it induces caution and steadiness—a boy trusted with chalk and paper suffers an immediate temptation to scrawl upon it and play with it, but he dares not scrawl on gold, and he cannot play with it; and, lastly, that it gives great delicacy and precision of touch to work upon minute forms, and to aim at producing richness and finish of design correspondent to the preciousness of the material.
[8] See note in Addenda on the nature of property.
[9] See note 5th, in Addenda.
[10] See note 6th, in Addenda.
[11] The reader can hardly but remember Mrs. Browning's beautiful appeal for Italy, made on the occasion of the first great Exhibition of Art in England:—
Magi of the east and of the west,
Your incense, gold, and myrrh are excellent!—
What gifts for Christ, then, bring ye with the rest?
Your hands have worked well. Is your courage spent
In handwork only? Have you nothing best,
Which generous souls may perfect and present,
And He shall thank the givers for? no light
Of teaching, liberal nations, for the poor,
Who sit in darkness when it is not night?
No cure for wicked children? Christ,—no cure,
No help for women, sobbing out of sight
Because men made the laws? no brothel-lure
Burnt out by popular lightnings? Hast thou found
No remedy, my England, for such woes?
No outlet, Austria, for the scourged and bound,
No call back for the exiled? no repose,
Russia for knouted Poles worked underground,
And gentle ladies bleached among the snows?
No mercy for the slave, America?
No hope for Rome, free France, chivalric France?
Alas, great nations have great shames, I say.
No pity, O world, no tender utterance
Of benediction, and prayers stretched this way
For poor Italia, baffled by mischance?
O gracious nations, give some ear to me!
You all go to your Fair, and I am one
Who at the roadside of humanity
Beseech your alms,—God's justice to be done.
So, prosper!
[12] It would be a great point gained towards the preservation of pictures if it were made a rule that at every operation they underwent, the exact spots in which they have been repainted should be recorded in writing.
[13] When this lecture was delivered, I gave here some data for approximate estimates of the average value of good modern pictures of different classes; but the subject is too complicated to be adequately treated in writing, without introducing more detail than the reader will have patience for. But I may state, roughly, that prices above a hundred guineas are in general extravagant for water-colours, and above five hundred for oils. An artist almost always does wrong who puts more work than these prices will remunerate him for into any single canvas—his talent would be better employed in painting two pictures than one so elaborate. The water-colour painters also are getting into the habit of making their drawings too large, and in a measure attaching their price rather to breadth and extent of touch than to thoughtful labour. Of course marked exceptions occur here and there, as in the case of John Lewis, whose drawings are wrought with unfailing precision throughout, whatever their scale. Hardly any price can be remunerative for such work.