Unto This Last, and Other Essays on Political Economy

But, observe, it is not only the painter himself whom you injure, by giving him too high prices; you injure all the inferior painters of the day. If they are modest, they will be discouraged and depressed by the feeling that their doings are worth so little, comparatively, in your eyes;—if proud, all their worst passions will be aroused, and the insult or opprobrium which they will try to cast on their successful rival will not only afflict and wound him, but at last sour and harden him: he cannot pass through such a trial without grievous harm.

That, then, is the effect you produce on the painter of mark, and on the inferior ones of his own standing. But you do worse than this; you deprive yourselves, by what you give for the fashionable picture, of the power of helping the younger men who are coming forward. Be it admitted, for argument's sake if you are not convinced by what I have said, that you do no harm to the great man by paying him well; yet certainly you do him no special good. His reputation is established, and his fortune made; he does not care whether you buy or not: he thinks he is rather doing you a favour than otherwise by letting you have one of his pictures at all. All the good you do him is to help him to buy a new pair of carriage horses; whereas, with that same sum which thus you cast away, you might have relieved the hearts and preserved the health of twenty young painters; and if among those twenty, you but chanced on one in whom a true latent power had been hindered by his poverty, just consider what a far-branching, far-embracing good you have wrought with that lucky expenditure of yours. I say, "Consider it" in vain; you cannot consider it, for you cannot conceive the sickness of heart with which a young painter of deep feeling toils through his first obscurity;—his sense of the strong voice within him, which you will not hear;—his vain, fond, wondering witness to the things you will not see;—his far away perception of things that he could accomplish if he had but peace, and time, all unapproachable and vanishing from him, because no one will leave him peace or grant him time: all his friends falling back from him; those whom he would most reverently obey rebuking and paralysing him; and last and worst of all, those who believe in him the most faithfully suffering by him the most bitterly;—the wife's eyes, in their sweet ambition, shining brighter as the cheek wastes away; and the little lips at his side parched and pale, which one day, he knows, though he may never see it, will quiver so proudly when they name his name, calling him "our father." You deprive yourselves, by your large expenditure for pictures of mark, of the power of relieving and redeeming this distress; you injure the painter whom you pay so largely;—and what, after all, have you done for yourselves, or got for yourselves? It does not in the least follow that the hurried work of a fashionable painter will contain more for your money than the quiet work of some unknown man. In all probability, you will find, if you rashly purchase what is popular at a high price, that you have got one picture you don't care for, for a sum which would have bought twenty you would have delighted in. For remember always that the price of a picture by a living artist, never represents, never can represent, the quantity of labour or value in it. Its price represents, for the most part, the degree of desire which the rich people of the country have to possess it. Once get the wealthy classes to imagine that the possession of pictures by a given artist adds to their "gentility," and there is no price which his work may not immediately reach, and for years maintain; and in buying at that price, you are not getting value for your money, but merely disputing for victory in a contest of ostentation. And it is hardly possible to spend your money in a worse or more wasteful way; for though you may not be doing it for ostentation yourself, you are, by your pertinacity, nourishing the ostentation of others; you meet them in their game of wealth, and continue it for them; if they had not found an opposite player, the game would have been done; for a proud man can find no enjoyment in possessing himself of what nobody disputes with him. So that by every farthing you give for a picture beyond its fair price—that is to say, the price which will pay the painter for his time—you are not only cheating yourself and buying vanity, but you are stimulating the vanity of others; paying literally, for the cultivation of pride. You may consider every pound that you spend above the just price of a work of art, as an investment in a cargo of mental quick-lime or guano, which, being laid on the fields of human nature, is to grow a harvest of pride. You are in fact ploughing and harrowing, in a most valuable part of your land, in order to reap the whirlwind; you are setting your hand stoutly to Job's agriculture, "Let thistles grow instead of wheat, and cockle instead of barley."

Well, but you will say, there is one advantage in high prices, which more than counterbalances all this mischief, namely, that by great reward we both urge and enable a painter to produce rather one perfect picture than many inferior ones: and one perfect picture (so you tell us, and we believe it) is worth a great number of inferior ones.

It is so; but you cannot get it by paying for it. A great work is only done when the painter gets into the humour for it, likes his subject, and determines to paint it as well as he can, whether he is paid for it or not; but bad work, and generally the worst sort of bad work, is done when he is trying to produce a showy picture, or one that shall appear to have as much labour in it as shall be worth a high price.14

There is however, another point, and a still more important one, bearing on this matter of purchase, than the keeping down of prices to a rational standard. And that is, that you pay your prices into the hands of living men, and do not pour them into coffins.

For observe that, as we arrange our payment of pictures at present, no artist's work is worth half its proper value while he is alive. The moment he dies, his pictures, if they are good, reach double their former value; but, that rise of price represents simply a profit made by the intelligent dealer or purchaser on his past purchases. So that the real facts of the matter are, that the British public, spending a certain sum annually in art, determines that, of every thousand it pays, only five hundred shall go to the painter, or shall be at all concerned in the production of art; and that the other five hundred shall be paid merely as a testimonial to the intelligent dealer, who knew what to buy. Now, testimonials are very pretty and proper things, within due limits; but testimonial to the amount of a hundred per cent. on the total expenditure is not good political economy. Do not therefore, in general, unless you see it to be necessary for its preservation, buy the picture of a dead artist. If you fear that it may be exposed to contempt or neglect, buy it; its price will then, probably, not be high: if you want to put it into a public gallery, buy it; you are sure, then, that you do not spend your money selfishly: or, if you loved the man's work while he was alive, and bought it then, buy it also now, if you can see no living work equal to it. But if you did not buy it while the man was living, never buy it after he is dead: you are then doing no good to him, and you are doing some shame to yourself. Look around you for pictures that you really like, and in buying which you can help some genius yet unperished—that is the best atonement you can make to the one you have neglected—and give to the living and struggling painter at once wages, and testimonial.

So far, then, of the motives which should induce us to keep down the prices of modern art, and thus render it, as a private possession, attainable by greater numbers of people than at present. But we should strive to render it accessible to them in other ways also—chiefly by the permanent decoration of public buildings; and it is in this field that I think we may look for the profitable means of providing that constant employment for young painters of which we were speaking last evening.

The first and most important kind of public buildings which we are always sure to want, are schools: and I would ask you to consider very carefully, whether we may not wisely introduce some great changes in the way of school decoration. Hitherto, as far as I know, it has either been so difficult to give all the education we wanted to our lads, that we have been obliged to do it, if at all, with cheap furniture in bare walls; or else we have considered that cheap furniture and bare walls are a proper part of the means of education; and supposed that boys learned best when they sat on hard forms, and had nothing but blank plaster about and above them whereupon to employ their spare attention; also, that it was as well they should be accustomed to rough and ugly conditions of things, partly by way of preparing them for the hardships of life, and partly that there might be the least possible damage done to floors and forms, in the event of their becoming, during the master's absence, the fields or instruments of battle. All this is so far well and necessary, as it relates to the training of country lads, and the first training of boys in general. But there certainly comes a period in the life of a well educated youth, in which one of the principal elements of his education is, or ought to be, to give him refinement of habits; and not only to teach him the strong exercises of which his frame is capable, but also to increase his bodily sensibility and refinement, and show him such small matters as the way of handling things properly, and treating them considerately. Not only so, but I believe the notion of fixing the attention by keeping the room empty, is a wholly mistaken one: I think it is just in the emptiest room that the mind wanders most; for it gets restless, like a bird, for want of a perch, and casts about for any possible means of getting out and away. And even if it be fixed, by an effort, on the business in hand, that business becomes itself repulsive, more than it need be, by the vileness of its associations; and many a study appears dull or painful to a boy when it is pursued on a blotted deal desk, under a wall with nothing on it but scratches and pegs, which would have been pursued pleasantly enough in a curtained corner of his father's library, or at the lattice window of his cottage. Nay, my own belief is, that the best study of all is the most beautiful; and that a quiet glade of forest, or the nook of a lake shore, are worth all the schoolrooms in Christendom, when once you are past the multiplication table; but be that as it may, there is no question at all but that a time ought to come in the life of a well trained youth, when he can sit at a writing table without wanting to throw the inkstand at his neighbour; and when also he will feel more capable of certain efforts of mind with beautiful and refined forms about him than with ugly ones. When that time comes, he ought to be advanced into the decorated schools; and this advance ought to be one of the important and honourable epochs of his life.

I have not time, however, to insist on the mere serviceableness to our youth of refined architectural decoration, as such; for I want you to consider the probable influence of the particular kind of decoration which I wish you to get for them, namely, historical painting. You know we have hitherto been in the habit of conveying all our historical knowledge, such as it is, by the ear only, never by the eye; all our notions of things being ostensibly derived from verbal description, not from sight. Now, I have no doubt that, as we grow gradually wiser—and we are doing so every day—we shall discover at last that the eye is a nobler organ than the ear; and that through the eye we must, in reality, obtain, or put into form, nearly all the useful information we are to have about this world. Even as the matter stands, you will find that the knowledge which a boy is supposed to receive from verbal description is only available to him so far as in any underhand way he gets a sight of the thing you are talking about. I remember well that, for many years of my life, the only notion I had of the look of a Greek knight was complicated between recollection of a small engraving in my pocket Pope's Homer, and reverent study of the Horse Guards. And though I believe that most boys collect their ideas from more varied sources, and arrange them more carefully than I did; still, whatever sources they seek must always be ocular: if they are clever boys, they will go and look at the Greek vases and sculptures in the British Museum, and at the weapons in our armouries—they will see what real armour is like in lustre, and what Greek armour was like in form, and so put a fairly true image together, but still not, in ordinary cases, a very living or interesting one. Now, the use of your decorative painting would be, in myriads of ways, to animate their history for them, and to put the living aspect of past things before their eyes as faithfully as intelligent invention can; so that the master shall have nothing to do but once to point to the schoolroom walls, and for ever afterwards the meaning of any word would be fixed in a boy's mind in the best possible way. Is it a question of classical dress—what a tunic was like, or a chlamys, or a peplus? At this day, you have to point to some vile woodcut, in the middle of a dictionary page, representing the thing hung upon a stick, but then, you would point to a hundred figures, wearing the actual dress, in its fiery colours, in all actions of various stateliness or strength; you would understand at once how it fell round the people's limbs as they stood, how it drifted from their shoulders as they went, how it veiled their faces as they wept, how it covered their heads in the day of battle. Now, if you want to see what a weapon is like, you refer, in like manner, to a numbered page, in which there are spear-heads in rows, and sword-hilts in symmetrical groups; and gradually the boy gets a dim mathematical notion how one scymitar is hooked to the right and another to the left, and one javelin has a knob to it and another none: while one glance at your good picture would show him,—and the first rainy afternoon in the schoolroom would for ever fix in his mind,—the look of the sword and spear as they fell or flew; and how they pierced, or bent, or shattered—how men wielded them, and how men died by them. But far more than all this, is it a question not of clothes or weapons, but of men? how can we sufficiently estimate the effect on the mind of a noble youth, at the time when the world opens to him, of having faithful and touching representations put before him of the acts and presences of great men—how many a resolution, which would alter and exalt the whole course of his after-life, might be formed, when in some dreamy twilight he met, through his own tears, the fixed eyes of those shadows of the great dead, unescapable and calm, piercing to his soul; or fancied that their lips moved in dread reproof or soundless exhortation. And if but for one out of many this were true—if yet, in a few, you could be sure that such influence had indeed changed their thoughts and destinies, and turned the eager and reckless youth, who would have cast away his energies on the race-horse or the gambling-table, to that noble life-race, that holy life-hazard, which should win all glory to himself and all good to his country—would not that, to some purpose, be "political economy of art?"

And observe, there could be no monotony, no exhaustibleness, in the scenes required to be thus pourtrayed. Even if there were, and you wanted for every school in the kingdom, one death of Leonidas; one battle of Marathon; one death of Cleobis and Bito; there need not therefore be more monotony in your art than there was in the repetition of a given cycle of subjects by the religious painters of Italy. But we ought not to admit a cycle at all. For though we had as many great schools as we have great cities (one day I hope we shall have), centuries of painting would not exhaust, in all the number of them, the noble and pathetic subjects which might be chosen from the history of even one noble nation. But, besides this, you will not, in a little while, limit your youths' studies to so narrow fields as you do now. There will come a time—I am sure of it—when it will be found that the same practical results, both in mental discipline, and in political philosophy, are to be attained by the accurate study of mediæval and modern as of ancient history; and that the facts of mediæval and modern history are, on the whole, the most important to us. And among these noble groups of constellated schools which I foresee arising in our England, I foresee also that there will be divided fields of thought; and that while each will give its scholars a great general idea of the world's history, such as all men should possess—each will also take upon itself, as its own special duty, the closer study of the course of events in some given place or time. It will review the rest of history, but it will exhaust its own special field of it; and found its moral and political teaching on the most perfect possible analysis of the results of human conduct in one place, and at one epoch. And then, the galleries of that school will be painted with the historical scenes belonging to the age which it has chosen for its special study.

So far, then, of art as you may apply it to that great series of public buildings which you devote to the education of youth. The next large class of public buildings in which we should introduce it, is one which I think a few years more of national progress will render more serviceable to us than they have been lately. I mean, buildings for the meetings of guilds of trades.

And here, for the last time, I must again interrupt the course of our chief inquiry, in order to state one other principle of political economy, which is perfectly simple and indisputable; but which, nevertheless, we continually get into commercial embarrassments for want of understanding; and not only so, but suffer much hindrance in our commercial discoveries, because many of our business men do not practically admit it.

Supposing half a dozen or a dozen men were cast ashore from a wreck on an uninhabited island and left to their own resources, one of course, according to his capacity, would be set to one business and one to another; the strongest to dig and to cut wood, and to build huts for the rest: the most dexterous to make shoes out of bark and coats out of skins; the best educated to look for iron or lead in the rocks, and to plan the channels for the irrigation of the fields. But though their labours were thus naturally severed, that small group of shipwrecked men would understand well enough that the speediest progress was to be made by helping each other,—not by opposing each other; and they would know that this help could only be properly given so long as they were frank and open in their relations, and the difficulties which each lay under properly explained to the rest. So that any appearance of secresy or separateness in the actions of any of them would instantly, and justly, be looked upon with suspicion by the rest, as the sign of some selfish or foolish proceeding on the part of the individual. If, for instance, the scientific man were found to have gone out at night, unknown to the rest, to alter the sluices, the others would think, and in all probability rightly think, that he wanted to get the best supply of water to his own field; and if the shoemaker refused to show them where the bark grew which he made the sandals of, they would naturally think, and in all probability rightly think, that he didn't want them to see how much there was of it, and that he meant to ask from them more corn and potatoes in exchange for his sandals than the trouble of making them deserved. And thus, although each man would have a portion of time to himself in which he was allowed to do what he chose without let or inquiry,—so long as he was working in that particular business which he had undertaken for the common benefit, any secresy on his part would be immediately supposed to mean mischief; and would require to be accounted for, or put an end to: and this all the more because, whatever the work might be, certainly there would be difficulties about it which, when once they were well explained, might be more or less done away with by the help of the rest; so that assuredly every one of them would advance with his labour not only more happily, but more profitably and quickly, by having no secrets, and by frankly bestowing, and frankly receiving, such help as lay in his way to get or to give.

And, just as the best and richest result of wealth and happiness to the whole of them, would follow on their perseverance in such a system of frank communication and of helpful labour;—so precisely the worst and poorest result would be obtained by a system of secresy and of enmity; and each man's happiness and wealth would assuredly be diminished in proportion to the degree in which jealousy and concealment became their social and economical principles. It would not, in the long run, bring good, but only evil, to the man of science, if, instead of telling openly where he had found good iron, he carefully concealed every new bed of it, that he might ask, in exchange for the rare ploughshare, more corn from the farmer, or in exchange for the rude needle, more labour from the sempstress: and it would not ultimately bring good, but only evil, to the farmers, if they sought to burn each other's cornstacks, that they might raise the value of their grain, or if the sempstresses tried to break each other's needles, that each might get all the stitching to herself.

Now, these laws of human action are precisely as authoritative in their application to the conduct of a million of men, as to that of six or twelve. All enmity, jealousy, opposition, and secresy are wholly, and in all circumstances, destructive in their nature—not productive; and all kindness, fellowship, and communicativeness are invariably productive in their operation,—not destructive; and the evil principles of opposition and exclusiveness are not rendered less fatal, but more fatal, by their acceptance among large masses of men; more fatal, I say, exactly in proportion as their influence is more secret. For though the opposition does always its own simple, necessary, direct quantity of harm, and withdraws always its own simple, necessary, measurable quantity of wealth from the sum possessed by the community, yet, in proportion to the size of the community, it does another and more refined mischief than this, by concealing its own fatality under aspects of mercantile complication and expediency, and giving rise to multitudes of false theories based on a mean belief in narrow and immediate appearances of good done here and there by things which have the universal and everlasting nature of evil. So that the time and powers of the nation are wasted, not only in wretched struggling against each other, but in vain complaints, and groundless discouragements, and empty investigations, and useless experiments in laws, and elections, and inventions; with hope always to pull wisdom through some new-shaped slit in a ballot-box, and to drag prosperity down out of the clouds along some new knot of electric wire; while all the while Wisdom stands calling at the corners of the streets, and the blessing of heaven waits ready to rain down upon us, deeper than the rivers and broader than the dew, if only we will obey the first plain principles of humanity, and the first plain precepts of the skies; "Execute true judgment, and show mercy and compassion, every man to his brother; and let none of you imagine evil against his brother in your heart."15

Therefore, I believe most firmly, that as the laws of national prosperity get familiar to us, we shall more and more cast our toil into social and communicative systems; and that one of the first means of our doing so, will be the re-establishing guilds of every important trade in a vital, not formal, condition;—that there will be a great council or government house for the members of every trade, built in whatever town of the kingdom occupies itself principally in such trade, with minor council halls in other cities; and to each council-hall, officers attached, whose first business may be to examine into the circumstances of every operative, in that trade, who chooses to report himself to them when out of work, and to set him to work, if he is indeed able and willing, at a fixed rate of wages, determined at regular periods in the council-meetings; and whose next duty may be to bring reports before the council of all improvements made in the business, and means of its extension: not allowing private patents of any kind, but making all improvements available to every member of the guild, only allotting, after successful trial of them, a certain reward to the inventors.