Ariadne Florentina: Six Lectures on Wood and Metal Engraving

by John Ruskin

In like manner, this course, which I propose to you in art, will be calculated only to give you judgment and method in future study, to establish to your conviction the laws of general art, and to enable you to draw, if not with genius, at least with sense and propriety.

The course, so far as it consists in practice, will be defined in my Instructions for the schools. And the theory connected with that practice is set down in the three lectures at the end of the first course I delivered—those on Line, Light, and Color.

You will have, therefore, to get this book,[B] and it is the only one which you will need to have of your own,—the others are placed, for reference, where they will be accessible to you.

5. In the 139th paragraph it states the order of your practical study in these terms:—

"I wish you to begin by getting command of line;—that is to say, by learning to draw a steady line, limiting with absolute correctness the form or space you intend it to limit; to proceed by getting command over flat tints, so that you may be able to fill the spaces you have inclosed evenly, either with shade or color, according to the school you adopt; and, finally, to obtain the power of adding such fineness of drawing, within the masses, as shall express their undulation, and their characters of form and texture."

And now, since in your course of practice you are first required to attain the power of drawing lines accurately and delicately, so in the course of theory, or grammar, I wish you first to learn the principles of linear design, exemplified by the schools which (§ 137) you will find characterized as the Schools of Line.

6. If I had command of as much time as I should like to spend with you on this subject, I would begin with the early forms of art which used the simplest linear elements of design. But, for general service and interest, it will be better that I should sketch what has been accomplished by the greatest masters in that manner; the rather that their work is more or less accessible to all, and has developed into the vast industries of modern engraving, one of the most powerful existing influences of education and sources of pleasure among civilized people.

And this investigation, so far from interrupting, will facilitate our examination of the history of the nobler arts. You will see in the preface to my lectures on Greek sculpture that I intend them to be followed by a course on architecture, and that by one on Florentine sculpture. But the art of engraving is so manifestly, at Florence, though not less essentially elsewhere, a basis of style both in architecture and sculpture, that it is absolutely necessary I should explain to you in what the skill of the engraver consists, before I can define with accuracy that of more admired artists. For engraving, though not altogether in the method of which you see examples in the print-shops of the High Street, is, indeed, a prior art to that either of building or sculpture, and is an inseparable part of both, when they are rightly practiced.

7. And while we thus examine the scope of this first of the arts, it will be necessary that we learn also the scope of mind of the early practicers of it, and accordingly acquaint ourselves with the main events in the biography of the schools of Florence. To understand the temper and meaning of one great master is to lay the best, if not the only, foundation for the understanding of all; and I shall therefore make it the leading aim of this course of lectures to remind you of what is known, and direct you to what is knowable, of the life and character of the greatest Florentine master of engraving, Sandro Botticelli; and, incidentally, to give you some idea of the power of the greatest master of the German, or any northern, school, Hans Holbein.

8. You must feel, however, that I am using the word "engraving" in a somewhat different, and, you may imagine, a wider, sense, than that which you are accustomed to attach to it. So far from being a wider sense, it is in reality a more accurate and restricted one, while yet it embraces every conceivable right application of the art. And I wish, in this first lecture, to make entirely clear to you the proper meaning of the word, and proper range of the art of, engraving; in my next following lecture, to show you its place in Italian schools, and then, in due order, the place it ought to take in our own, and in all schools.