Aratra Pentelici, Seven Lectures on the Elements of Sculpture: Given before the University of Oxford in Michaelmas Term, 1870Ruskin, John
Philosophy
Aratra Pentelici, Seven Lectures on the Elements of Sculpture: Given before the University of Oxford in Michaelmas Term, 1870
Ruskin, John
Sculpture
1. I must pray the readers of the following Lectures to remember that
the duty at present laid on me at Oxford is of an exceptionally complex
character. Directly, it is to awaken the interest of my pupils in a
study which they have hitherto found unattractive, and imagined to be
useless; but more imperatively, it is to define the principles by which
the study itself should be guided; and to vindicate their security
against the doubts with which frequent discussion has lately incumbered
a subject which all think themselves competent to discuss. The
possibility of such vindication is, of course, implied in the original
consent of the Universities to the establishment of Art Professorships.
Nothing can be made an element of education of which it is impossible to
determine whether it is ill done or well; and the clear assertion that
there is a canon law in formative Art is, at this time, a more important
function of each University than the instruction of its younger members
in any branch of practical skill. It matters comparatively little
whether few or many of our students learn to draw; but it matters much
that all who learn should be taught with accuracy. And the number who
may be justifiably advised to give any part of the time they spend at
college to the study of painting or sculpture ought to depend, and
finally _must_ depend, on their being certified that painting and
sculpture, no less than language, or than reasoning, have grammar and
method,--that they permit a recognizable distinction between scholarship
and ignorance, and enforce a constant distinction between Right and
Wrong.
2. This opening course of Lectures on Sculpture is therefore restricted
to the statement, not only of first principles, but of those which were
illustrated by the practice of one school, and by that practice in its
simplest branch, the analysis of which could be certified by easily
accessible examples, and aided by the indisputable evidence of
photography.[1]
The exclusion of the terminal Lecture[2] of the course from the series
now published, is in order to mark more definitely this limitation of my
subject; but in other respects the Lectures have been amplified in
arranging them for the press, and the portions of them trusted at the
time to extempore delivery (not through indolence, but because
explanations of detail are always most intelligible when most familiar)
have been in substance to the best of my power set down, and in what I
said too imperfectly, completed.
Public-domain text, read in full here on John Shaqi.
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