In connection with the subject of this lecture, I may mention to you that I have received an interesting letter, requesting me to assist in promoting some improvements designed in the city of Oxford.
But as the entire charm and educational power of the city of Oxford, so far as that educational power depended on reverent associations, or on visible solemnities and serenities of architecture, have been already destroyed; and, as far as our own lives extend, destroyed, I may say, for ever, by the manufacturing suburb which heaps its ashes on one side, and the cheap-lodging suburb which heaps its brickbats on the other; I am myself, either as antiquary or artist, absolutely indifferent to what happens next; except on grounds respecting the possible health, cleanliness, and decency which may yet be obtained for the increasing population.
How far cleanliness and decency bear on art and science, or on the changed functions of the university to its crowd of modern students, I have partly to consider in connection with the subject of my next lecture, and I will reserve therefore any definite notice of these proposed improvements in the city, until the next occasion of meeting you.
LECTURE VI.
THE RELATION TO ART OF THE SCIENCE OF LIGHT.
24th February, 1872.
96. I have now, perhaps to the exhaustion of your patience, but you will find, not without real necessity, defined the manner in which the mental tempers, ascertained by philosophy to be evil or good, retard and advance the parallel studies of science and art.
In this and the two next following lectures I shall endeavour to state to you the literal modes in which the virtues of art are connected with the principles of exact science; but now, remember, I am speaking, not of the consummate science of which art is the image; but only of what science we have actually attained, which is often little more than terminology (and even that uncertain), with only a gleam of true science here and there.
I will not delay you by any defence of the arrangement of sciences I have chosen. Of course we may at once dismiss chemistry and pure mathematics from our consideration. Chemistry can do nothing for art but mix her colours, and tell her what stones will stand weather; (I wish, at this day, she did as much;) and with pure mathematics we have nothing whatever to do; nor can that abstract form of high mathesis stoop to comprehend the simplicity of art. To a first wrangler at Cambridge, under the present conditions of his trial, statues will necessarily be stone dolls, and imaginative work unintelligible. We have, then, in true fellowship with art, only the sciences of light and form, (optics and geometry). If you will take the first syllable of the word ‘geometry’ to mean earth in the form of flesh, as well as of clay, the two words sum every science that regards graphic art, or of which graphic art can represent the conclusions.