Fors Clavigera (Volume 5 of 8): Letters to the workmen and labourers of Great BritainRuskin, John
General
Fors Clavigera (Volume 5 of 8): Letters to the workmen and labourers of Great Britain
Ruskin, John
Aesthetics; Conduct of life; Great Britain -- Social conditions -- 19th century; Social problems; Working class -- Great Britain
The Midsummer holiday, for better enjoyment of which Mr. Telford
provided us with these luxuries, began usually on the fifteenth of May,
or thereabouts;—my father’s birthday was the tenth; on that day I was
always allowed to gather the gooseberries for his first gooseberry pie
of the year, from the tree between the buttresses on the north wall of
the Herne Hill garden; so that we could not leave before that festa.
The holiday itself consisted in a tour for orders through half the
English counties; and a visit (if the counties lay northward) to my
aunt in Scotland.
The mode of journeying was as fixed as that of our home life. We went
from forty to fifty miles a day, starting always early enough in the
morning to arrive comfortably to four-o’clock dinner. Generally,
therefore, getting off at six o’clock, a stage or two were done before
breakfast, with the dew on the grass, and first scent from the
hawthorns: if in the course of the midday drive there were any
gentleman’s house to be seen,—or, better still, a lord’s—or, best of
all, a duke’s,—my father baited the horses, and took my mother and me
reverently through the state rooms; always speaking a little under our
breath to the housekeeper, major domo, or other authority in charge;
and gleaning worshipfully what fragmentary illustrations of the history
and domestic ways of the family might fall from their lips. My father
had a quite infallible natural judgment in painting; and though it had
never been cultivated so as to enable him to understand the Italian
schools, his sense of the power of the nobler masters in northern work
was as true and passionate as the most accomplished artist’s. He never,
when I was old enough to care for what he himself delighted in, allowed
me to look for an instant at a bad picture; and if there were a
Reynolds, Velasquez, Vandyck, or Rembrandt in the rooms, he would pay
the surliest housekeepers into patience until we had seen it to heart’s
content; if none of these, I was allowed to look at Guido, Carlo
Dolce—or the more skilful masters of the Dutch school—Cuyp, Teniers,
Hobbema, Wouwermans; but never at any second-rate or doubtful examples.
I wonder how many of the lower middle class are now capable of going
through a nobleman’s house, with judgment of this kind; and yet with
entirely unenvious and reverent delight in the splendour of the abode
of the supreme and beneficent being who allows them thus to enter his
paradise?
If there were no nobleman’s house to be seen, there was certainly, in
the course of the day’s journey, some ruined castle or abbey; some
celebrated village church, or stately cathedral. We had always
unstinted time for these; and if I was at disadvantage because neither
my father nor mother could tell me enough history to make the buildings
authoritatively interesting, I had at least leisure and liberty to
animate them with romance in my own fashion.
Public-domain text, read in full here on John Shaqi.
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