Art and the Handicraftsman
But what you do love are your own men and women, your own flowers and fields, your own hills and mountains, and these are what your art should represent to you.
Ours has been the first movement which has brought the handicraftsman and the artist together, for remember that by separating the one from the other you do ruin to both; you rob the one of all spiritual motive and all imaginative joy, you isolate the other from all real technical perfection. The two greatest schools of art in the world, the sculptor at Athens and the school of painting at Venice, had their origin entirely in a long succession of simple and earnest handicraftsmen. It was the Greek potter who taught the sculptor that restraining influence of design which was the glory of the Parthenon; it was the Italian decorator of chests and household goods who kept Venetian painting always true to its primary pictorial condition of noble colour. For we should remember that all the arts are fine arts and all the arts decorative arts. The greatest triumph of Italian painting was the decoration of a pope's chapel in Rome and the wall of a room in Venice. Michael Angelo wrought the one, and Tintoret, the dyer's son, the other. And the little 'Dutch landscape, which you put over your sideboard to-day, and between the windows to-morrow, is' no less a glorious 'piece of work than the extents of field and forest with which Benozzo has made green and beautiful the once melancholy arcade of the Campo Santo at Pisa,' as Ruskin says.
Do not imitate the works of a nation, Greek or Japanese, Italian or English; but their artistic spirit of design and their artistic attitude to-day, their own world, you should absorb but imitate never, copy never. Unless you can make as beautiful a design in painted china or embroidered screen or beaten brass out of your American turkey as the Japanese does out of his grey silver-winged stork, you will never do anything. Let the Greek carve his lions and the Goth his dragons: buffalo and wild deer are the animals for you.
Golden rod and aster and rose and all the flowers that cover your valleys in the spring and your hills in the autumn: let them be the flowers for your art. Not merely has Nature given you the noblest motives for a new school of decoration, but to you above all other countries has she given the utensils to work in.
You have quarries of marble richer than Pentelicus, more varied than Paros, but do not build a great white square house of marble and think that it is beautiful, or that you are using marble nobly. If you build in marble you must either carve it into joyous decoration, like the lives of dancing children that adorn the marble castles of the Loire, or fill it with beautiful sculpture, frieze and pediment, as the Greeks did, or inlay it with other coloured marbles as they did in Venice. Otherwise you had better build in simple red brick as your Puritan fathers, with no pretence and with some beauty. Do not treat your marble as if it was ordinary stone and build a house of mere blocks of it. For it is indeed a precious stone, this marble of yours, and only workmen of nobility of invention and delicacy of hand should be allowed to touch it at all, carving it into noble statues or into beautiful decoration, or inlaying it with other coloured marbles: for 'the true colours of architecture are those of natural stone, and I would fain see them taken advantage of to the full.
Every variety is here, from pale yellow to purple passing through orange, red, and brown, entirely at your command; nearly every kind of green and grey also is attainable, and with these and with pure white what harmony might you not achieve. Of stained and variegated stone the quantity is unlimited, the kinds innumerable. Were brighter colours required, let glass, and gold protected by glass, be used in mosaic, a kind of work as durable as the solid stone and incapable of losing its lustre by time. And let the painter's work be reserved for the shadowed loggia and inner chamber.
'This is the true and faithful way of building. Where this cannot be, the device of external colouring may indeed be employed without dishonour - but it must be with the warning reflection that a time will come when such aids will pass away and when the building will be judged in its lifelessness, dying the death of the dolphin. Better the less bright, more enduring fabric. The transparent alabasters of San Miniato and the mosaics of Saint Mark's are more warmly filled and more brightly touched by every return of morning and evening, while the hues of the Gothic cathedrals have died like the iris out of the cloud, and the temples, whose azure and purple once flamed above the Grecian promontory, stand in their faded whiteness like snows which the sunset has left cold.' - Ruskin, SEVEN LAMPS OF ARCHITECTURE, II.
I do not know anything so perfectly commonplace in design as most modern jewellery. How easy for you to change that and to produce goldsmiths' work that would be a joy to all of us. The gold is ready for you in unexhausted treasure, stored up in the mountain hollow or strewn on the river sand, and was not given to you merely for barren speculation. There should be some better record of it left in your history than the merchant's panic and the ruined home. We do not remember often enough how constantly the history of a great nation will live in and by its art. Only a few thin wreaths of beaten gold remain to tell us of the stately empire of Etruria; and, while from the streets of Florence the noble knight and haughty duke have long since passed away, the gates which the simple goldsmith Ghiberti made for their pleasure still guard their lovely house of baptism, worthy still of the praise of Michael Angelo who called them worthy to be the Gates of Paradise.
Have then your school of design, search out your workmen and, when you find one who has delicacy of hand and that wonder of invention necessary for goldsmiths' work, do not leave him to toil in obscurity and dishonour and have a great glaring shop and two great glaring shop-boys in it (not to take your orders: they never do that; but to force you to buy something you do not want at all). When you want a thing wrought in gold, goblet or shield for the feast, necklace or wreath for the women, tell him what you like most in decoration, flower or wreath, bird in flight or hound in the chase, image of the woman you love or the friend you honour. Watch him as he beats out the gold into those thin plates delicate as the petals of a yellow rose, or draws it into the long wires like tangled sunbeams at dawn. Whoever that workman be, help him, cherish him, and you will have such lovely work from his hand as will be a joy to you for all time.