Art and National Decadence. 261 CHAP. IX.] —which usually ministers to luxury-has done so much for human progress as is generally supposed. It is even possible that its too exclusive culture may effeminate rather than strengthen the character, by laying it more open to the temptations of the senses. "It is the nature of the imaginative temperament cultivated by the arts," says Sir Henry Taylor, "to undermine the courage, and, by abating strength of character, to render men more easily subservient-sequaces, cereos, et ad mandata ductiles." The gift of the artist greatly differs from that of the thinker; his highest idea is to mould his subject-whether it be of painting, or music, or literature-into that perfect grace of form in which thought (it may not be of the deepest) finds its apotheosis and immortality. Art has usually flourished most during the decadence of nations, when it has been hired by wealth as the minister of luxury. Exquisite art and degrading corruption were contemporary in Greece as well as in Rome. Phidias and Iktinos had scarcely completed the Parthenon, when the glory of Athens had departed; Phidias died in prison; and the Spartans set up in the city the memorials of their own triumph and of Athenian defeat. It was the same in ancient Rome, where art was at its greatest height when the people were in their most degraded condition. Nero was an artist, as well as Domitian, two of the greatest monsters of the Empire. If the "Beautiful" had been the "Good," Commodus must have been one of the best of men. But according to history he was one of the worst. Again, the greatest period of modern Roman art was that in which Pope Leo X. flourished, of whose reign it has been said, that "profligacy and licentiousness 'The Statesinan,' p. 35. 262 Paris and Rome. [CHAP. IX. prevailed amongst the people and clergy, as they had done almost uncontrolled ever since the pontificate of Alexander VI." In like manner, the period at which art reached its highest point in the Low Countries was that which immediately succeeded the destruction of civil and religious liberty, and the prostration of the national life under the despotism of Spain. If art could elevate a nation, and the contemplation of The Beautiful were calculated to make men The Good-then Paris ought to contain a population of the wisest and best of human beings. Rome also is a great city of art; and yet there, the virtus or valour of the ancient Romans has characteristically degenerated into vertu, or a taste for knicknacks; whilst, according to recent accounts, the city itself is inexpressibly foul.1 Art would sometimes even appear to have a close connection with dirt; and it is said of Mr. Ruskin, that when searching for works of art in Venice, his attendant in his explorations would sniff an ill-odour, and when it was strong would say, "Now we are coming to something very old and fine!"-meaning in art.2 A little common Nathaniel Hawthorne, in his 'First Impressions of France and Italy,' says his opinion of the uncleanly character of the modern Romans is so unfavourable that he hardly knows how to express it: "But the fact is that through the Forum, and everywhere out of the commonest foot-track and roadway, you must look well to your steps. Perhaps there is something in the minds of the people of these countries that enables them to dissever small ugliness from great sublimity and beauty. They spit upon the glorious pavement of St. Peter's, and wherever else they like; they place paltrylooking wooden confessionals be neath its sublime arches, and ornament them with cheap little coloured prints of the Crucifixion; they hang tin hearts, and other tinsel and trumpery, at the gorgeous shrines of the saints, in chapels that are encrusted with gems, or marbles almost as precious; they put pasteboard statues of saints beneath the dome of the Pantheon;-in short, they let the sublime and the ridiculous come close together, and are not in the least troubled by the proximity." 2 Edwin Chadwick's 'Address to the Economic Science and Statistic Section,' British Association (Meeting, 1862). CHAP. IX.] The Highest Culture. 263 education in cleanliness, where it is wanting, would probably be much more improving, as well as wholesome, than any amount of education in fine art. Ruffles are all very well, but it is folly to cultivate them to the neglect of the shirt. Whilst, therefore, grace of manner, politeness of behaviour, elegance of demeanour, and all the arts that contribute to make life pleasant and beautiful, are worthy of cultivation, it must not be at the expense of the more solid and enduring qualities of honesty, sincerity, and truthfulness. The fountain of beauty must be in the heart more than in the eye, and if art do not tend to produce beautiful life and noble practice, it will be of comparatively little avail. Politeness of manner is not worth much, unless accompanied by polite action. Grace may be but skin-deep-very pleasant and attractive, and yet very heartless. Art is a source of innocent enjoyment, and an important aid to higher culture; but unless it leads to higher culture, it will probably be merely sensuous. And when art is merely sensuous, it is enfeebling and demoralizing rather than strengthening or elevating. Honest courage is of greater worth than any amount of grace; purity is better than elegance; and cleanliness of body, mind, and heart, than any amount of fine art. In fine, while the cultivation of the graces is not to be neglected, it should ever be held in mind that there is something far higher and nobler to be aimed at―greater than pleasure, greater than art, greater than wealth, greater than power, greater than intellect, greater than genius—and that is, purity and excellence of character. Without a solid sterling basis of individual goodness, all the grace, elegance, and art in the world would fail to save or to elevate a people. Are a substantial world, both pure and good, Round which, with tendrils strong as flesh and blood, Our pastime and our happiness can grow."-Wordsworth. "Not only in the common speech of men, but in all art too-which is or should be the concentrated and conserved essence of what men can speak and show-Biography is almost the one thing needful."-Carlyle. "I read all biographies with intense interest. Even a man without a heart, like Cavendish, I think about, and read about, and dream about, and picture to myself in all possible ways, till he grows into a living being beside me, and I put my feet into his shoes, and become for the time Cavendish, and think as he thought, and do as he did."George Wilson. "My thoughts are with the dead; with them I live in long-past years; Their virtues love, their faults condemn; And from their lessons seek and find Instruction with a humble mind."-Southey. A MAN may usually be known by the books he reads, as well as by the company he keeps; for there is a companionship of books as well as of men; and one should always live in the best company, whether it be of books or of men. A good book may be among the best of friends. It is the same to-day that it always was, and it will never change. It is the most patient and cheerful of companions. It does not turn its back upon us in times of adversity or distress. It always receives us with the same kindness; amusing and instructing us in youth, and comforting and consoling us in age. Men often discover their affinity to each other by the mutual love they have for a book-just as two persons sometimes discover a friend by the admiration which CHAP. X.] Companionship of Books. 265 both entertain for a third. There is an old proverb, “Love me, love my dog." But there is more wisdom in this: "Love me, love my book." The book is a truer and higher bond of union. Men can think, feel, and sympathise with each other through their favourite author. They live in him together, and he in them. "Books," said Hazlitt, "wind into the heart; the poet's verse slides into the current of our blood. We read them when young, we remember them when old. We read there of what has happened to others; we feel that it has happened to ourselves. They are to be had everywhere cheap and good. We breathe but the air of books. We owe everything to their authors, on this side barbarism.” A good book is often the best urn of a life, enshrining the best thoughts of which that life was capable; for the world of a man's life is, for the most part, but the world of his thoughts. Thus the best books are treasuries of good words and golden thoughts, which, remembered and cherished, become our abiding companions and comforters. They are never alone," said Sir Philip Sidney, "that are accompanied by noble thoughts." The good and true thought may in time of temptation be as an angel of mercy purifying and guarding the soul. It also enshrines the germs of action, for good words almost invariably inspire to good works. Thus Sir Henry Lawrence prized above all other compositions Wordsworth's 'Character of the Happy Warrior,' which he endeavoured to embody in his own life. It was ever before him as an exemplar. He thought of it continually, and often quoted it to others. His biographer says: "He tried to conform his own. life and to assimilate his own character to it; and |