Art Wealth and Riches

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Art, Wealth and Riches

By William Morris

A lecture by writer and critic William Morris, was first delivered at a joint conversazione of Manchester Societies at the Royal Institution, Manchester 6th March 1883.This version was redelivered by actor Steve Whitehouse, on the 10th November 2003 as part of Free Trade and is reprinted in the catalogue.

Art, Wealth, and Riches are the words I have written at the head of this paper. Some of you may think that the two latter words, wealth and riches, are tautologous; but I cannot admit it. In truth these are no real synonyms in any language, I mean unless in the case of words borrowed from another tongue; and in the early days of our own language no one would have thought of using the word rich as a synonym for wealthy. He would have understood a wealthy man to mean one who had plentiful livelihood, and a rich man one who had great dominion over his fellow-men. Alexander the Rich, Canute the Rich, Alfred the Rich; these are familiar words enough in the early literature of the North; the adjective would scarcely be used except of a great king or chief, a man pre-eminent above other kings and chiefs. Now, without being a stickler for etymological accuracy, I must say that I think there are cases where modern languages have lost power by confusing two words into one meaning, and that this is one of them. I shall ask your leave therefore to use the words wealth and riches somewhat in the way in which our forefathers did, and to understand wealth as signifying the means of living a decent life, and riches the means for exercising dominion over other people. Thus understood the words are widely different to my mind; yet, indeed, if you say that the difference is but one of degree I must needs admit it; just so it is between the shepherd’s dog and the wolf. Their respective views on the subject of mutton differ only in degree.

A Joy Forever II

admin — Mon, 04 Dec 2006 19:01:04 +0100

A Joy Forever (and its place in the Market)

By John Ruskin

Lecture II of A Joy Forever
Extracted from a lecture first delivered at the Manchester Athenaeum, to coincide with the Art Treasures Exhibition, July 10th 1857. This version was recreated by art historian and former actor Paul O'Keefe, on the 26th November 2003 as part of Free Trade and is reprinted in the catalogue.

The Accumulation and Distribution of Art

A Joy Forever

admin — Mon, 04 Dec 2006 18:43:41 +0100

A Joy Forever (and its place in the Market)

By John Ruskin

Lecture I of II
Extracted from a lecture first delivered at the Manchester Athenaeum, to coincide with the Art Treasures Exhibition, July 10th 1857. This version was recreated by art historian and former actor Paul O'Keefe, on the 26th November 2003 as part of Free Trade and is reprinted in the catalogue.

The Discovery and Application of Art

Among the various characteristics of the age in which we live, as compared with other ages of this not yet very experienced world, one of the most notable appears to me to be the just and wholesome contempt in which we hold poverty. I repeat, the just and wholesome contempt; though I see that some of my hearers look surprised at the expression. I assure them, I use it in sincerity; and I should not have ventured to ask you to listen to me this evening, unless I had entertained a profound respect for wealth—true wealth, that is to say; for, of course, we ought to respect neither wealth nor anything else that is false of its kind: and the distinction between real and false wealth is one of the points on which I shall have a few words presently to say to you. But true wealth I hold, as I said, in great honour; and sympathize, for the most part, with that extraordinary feeling of the present age which publicly pays this honour to riches. […]

Now, it seemed to me that since, in the name you have given to this great gathering of British pictures, you recognize them as Treasures—that is, I suppose, as part and parcel of the real wealth of the country—you might not be uninterested in tracing certain commercial questions connected with this particular form of wealth. Most persons express themselves as surprised at its quantity; not having known before to what an extent good art had been accumulated in England: and it will, therefore, I should think, be held a worthy subject of consideration, what are the political interests involved in such accumulations, what kind of labour they represent, and how this labour may in general be applied and economized, so as to produce the richest results.

Now, you must have patience with me, if in approaching the specialty of this subject, I dwell a little on certain points of general political science already known or established: for though thus, as I believe, established, some which I shall have occasion to rest arguments on are not yet by any means universally accepted; and therefore, though I will not lose time in any detailed defence of them, it is necessary that I should distinctly tell you in what form I receive, and wish to argue from them; and this the more, because there may perhaps be a part of my audience who have not interested themselves in political economy, as it bears on ordinary fields of labour, but may yet wish to hear in what way its principles can be applied to Art. I shall, therefore, take leave to trespass on your patience with a few elementary statements in the outset, and with the expression of some general principles, here and there, in the course of our particular inquiry.

To begin, then, with one of these necessary truisms: all economy, whether of states, households, or individuals, may be defined to be the art of managing labour. The world is so regulated by the laws of Providence, that a man’s labour, well applied, is always amply sufficient to provide him during his life with all things needful to him, and not only with those, but with many pleasant objects of luxury; and yet farther, to procure him large intervals of healthful rest and serviceable leisure. And a nation’s labour, well applied, is, in like manner, amply sufficient to provide its whole population with good food and comfortable habitation; and not with those only, but with good education besides, and objects of luxury, art treasures, such as these you have around you now. But by those same laws of Nature and Providence, if the labour of the nation or of the individual be misapplied, and much more if it be insufficient,—if the nation or man be indolent and unwise,—suffering and want result, exactly in proportion to the indolence and improvidence—to the refusal of labour, or to the misapplication of it. Wherever you see want, or misery, or degradation, in this world about you, there, be sure, either industry has been wanting, or industry has been in error. It is not accident, it is not Heaven-commanded calamity, it is not the original and inevitable evil of man’s nature, which fill your streets with lamentation, and your graves with prey. It is only that, when there should have been providence, there has been waste; when there should have been labour, there has been lasciviousness; and wilfulness, when there should have been subordination.

Now, we have warped the word “economy” in our English language into a meaning which it has no business whatever to bear. In our use of it, it constantly signifies merely sparing or saving; economy of money means saving money—economy of time, sparing time, and so on. But that is a wholly barbarous use of the word—barbarous in a double sense, for it is not English, and it is bad Greek; barbarous in a treble sense, for it is not English, it is bad Greek, and it is worse sense. Economy no more means saving money than it means spending money. It means, the administration of a house; its stewardship; spending or saving, that is, whether money or time, or anything else, to the best possible advantage. In the simplest and clearest definition of it, economy, whether public or private, means the wise management of labour; and it means this mainly in three senses: namely, first, applying your labour rationally; secondly, preserving its produce carefully; lastly, distributing its produce seasonably.

I say first, applying your labour rationally; that is, so as to obtain the most precious things you can, and the most lasting things, by it: not growing oats in land where you can grow wheat, nor putting fine embroidery on a stuff that will not wear. Secondly, preserving its produce carefully; that is to say, laying up your wheat wisely in storehouses for the time of famine, and keeping your embroidery watchfully from the moth: and lastly, distributing its produce seasonably; that is to say, being able to carry your corn at once to the place where the people are hungry, and your embroideries to the places where they are gay; so fulifiling in all ways the Wise Man’s description, whether of the queenly housewife or queenly nation: “She riseth while it is yet night, and giveth meat to her household, and a portion to her maidens. She maketh herself coverings of tapestry, her clothing is silk and purple. Strength and honour are in her clothing, and she shall rejoice in time to come.”

Now, you will observe that in this description of the perfect economist, or mistress of a household, there is a studied expression of the balanced division of her care between the two great objects of utility and splendour: in her right hand, food and flax, for life and clothing; in her left hand, the purple and the needlework, for honour and for beauty. All perfect housewifery or national economy is known by these two divisions; wherever either is wanting, the economy is imperfect. If the motive of pomp prevails, and the, care of the national economist is directed only to the accumulation of gold, and of pictures, and of silk and marble, you know at once that the time must soon come when all these treasures shall be scattered and blasted in national ruin. If, on the contrary, the element of utility prevails, and the nation disdains to occupy itself in any wise with the arts of beauty or delight, not only a certain quantity of its energy calculated for exercise in those arts alone must be entirely wasted, which is bad economy, but also the passions connected with the utilities of property become morbidly strong, and a mean lust of accumulation merely for the sake of accumulation, or even of labour merely for the sake of labour, will banish at last the serenity and the morality of life, as completely, and perhaps more ignobly, than even the lavishness of pride, and the likeness of pleasure. […..]

Now, as you will have anticipated, I am going to address you, on this and our succeeding evening, chiefly on the subject of that economy which relates rather to the garden than the farm-yard. I shall ask you to consider with me the kind of laws by which we shall best distribute the beds of our national garden, and raise in it the sweetest succession of trees pleasant to the sight, and (in no forbidden sense) to be desired to make us wise. But, before proceeding to open this specialty of our subject, let me pause for a few moments to plead with you for the acceptance of that principle of government or authority which must be at the root of all economy, whether for use or for pleasure. I said, a few minutes ago, that a nation’s labour, well applied, was amply sufficient to provide its whole population with good food, comfortable clothing, and pleasant luxury. But the good, instant, and constant application is everything. We must not, when our strong hands are thrown out of work, look wildly about for want of something to do with them. If ever we feel that want, it is a sign that all our household is out of order. Fancy a farmer’s wife, to whom one or two of her servants should come at twelve o’clock at noon, crying that they had got nothing to do; that they did not know what to do next: and fancy still farther, the said farmer’s wife looking hopelessly about her rooms and yard, they being all the while considerably in disorder, not knowing where to set the spare handmaidens to work, and at last complaining bitterly that she had been obliged to give them their dinner for nothing. That’s the type of the kind of political economy we practise too often in England. Would you not at once assert of such a mistress that she knew nothing of her duties? and would you not be certain, if the household were rightly managed, the mistress would be only too glad at any moment to have the help of any number of spare hands; that she would know in an instant what to set them to;—in an instant what part of tomorrow’s work might be most serviceably forwarded, what part of next month’s work most wisely provided for, or what new task of some profitable kind undertaken; and when the evening came, and she dismissed her servants to their recreation or their rest, or gathered them to the reading round the work-table, under the eaves in the sunset, would you not be sure to find that none of them had been overtasked by her, just because none had been left idle; that everything had been accomplished because all had been employed; that the kindness of the mistress had aided her presence of mind, and the slight labour had been entrusted to the weak, and the formidable to the strong; and that as none had been dishonoured by inactivity, so none had been broken by toil?

Now, the precise counterpart of such a household would be seen in a nation in which political economy was rightly understood. You complain of the difficulty of finding work for your men. Depend upon it, the real difficulty rather is to find men for your work. The serious question for you is not how many you have to feed, but how much you have to do; it is our inactivity, not our hunger, that ruins us: let us never fear that our servants should have a good appetite—our wealth is in their strength, not in their starvation. Look around this island of yours, and see what you have to do in it. The sea roars against your harbour-less cliffs—you have to build the breakwater, and dig the port of refuge; the unclean pestilence ravins in your streets—you have to bring the full stream from the hills, and to send the free winds through the thoroughfare; the famine blanches your lips and eats away your flesh—you have to dig the moor and dry the marsh, to bid the morass give forth instead of engulfing, and to wring the honey and oil out of the rock. These things, and thousands such, we have to do, and shall have to do constantly, on this great farm of ours; for do not suppose that it is anything else than that. Precisely the same laws of economy which apply to the cultivation of a farm or an estate apply to the cultivation of a province or of an island. [……]

Now, I have pressed this upon you at more length than is needful or proportioned to our present purposes of inquiry, because I would not for the first time speak to you on this subject of political economy without clearly stating what I believe to be its first grand principle. But its bearing on the matter in hand is chiefly to prevent you from at once too violently dissenting from me when what I may state to you as advisable economy in art appears to imply too much restraint or interference with the freedom of the patron or artist. We are a little apt, though on the whole a prudent nation, to act too immediately on our impulses, even in matters merely commercial; much more in those involving continual appeals to our fancies. How far, therefore, the proposed systems or restraints may be advisable, it is for you to judge; only I pray you not to be offended with them merely because they are systems and restraints. […]

I. DISCOVERY.— How are we to get our men of genius: that is to say, by what means may we produce among us, at any given time, the greatest quantity of effective art-intellect? A wide question, you say, involving an account of all the best means of art education. Yes, but I do not mean to go into the consideration of those; I want only to state the few principles which lie at the foundation of the matter. Of these, the first is that you have always to find your artist, not to make him; you can’t manufacture him, any more than you can manufacture gold. You can find him, and refine him: you dig him out as he lies nugget-fashion in the mountain-stream; you bring him home; and you make him into current coin, or household plate, but not one grain of him can you originally produce. A certain quantity of art-intellect is born annually in every nation, greater or less according to the nature and cultivation of the nation, or race of men; but a perfectly fixed quantity annually, not increasable by one grain. You may lose it, or you may gather it; you may let it lie loose in the ravine, and buried in the sands, or you may make kings’ thrones of it, and overlay temple gates with it, as you choose: but the best you can do with it is always merely sifting, melting, hammering, purifying—never creating.

And there is another thing notable about this artistical gold; not only is it limited in quantity, but in use. You need not make thrones or golden gates with it unless you like, but assuredly you can’t do anything else with it. You can’t make knives of it, nor armour, nor railroads. The gold won’t cut you, and it won’t carry you: put it to a mechanical use, and you destroy it at once. It is quite true that, in the greatest artists, their proper artistical faculty is united with every other; and you may make use of the other faculties, and let the artistical one lie dormant. For aught I know, there may be two or three Leonardo da Vincis employed at this moment in your harbours and railroads: but you are not employing their Leonardesque or golden faculty there,— you are only oppressing and destroying it. And the artistical gift in average men is not joined with others: your born painter, if you don’t make a painter of him, won’t be a first-rate merchant, or lawyer; at all events, whatever he turns out, his own special gift is unemployed by you; and in no ways helps him in that other business. So here you have a certain quantity of a particular sort of intelligence, produced for you annually by providential laws, which you can only make use of by setting it to its own proper work, and which any attempt to use otherwise involves the dead loss of so much human energy.
Well then, supposing we wish to employ it, how is it best to be discovered and refined ? It is easily enough discovered. To wish to employ it is to discover it. All that you need is, a school of trial in every important town, in which those idle farmers lads whom their masters never can keep out of mischief, and those stupid tailors’ ‘prentices who are always stitching the sleeves on in the wrong way, upwards, may have a try in this other trade; only this school of trial must not be entirely regulated by formal laws of art education, but must ultimately be the workshop of a good master painter, who will try the lads with one kind of art and another, till he finds out what they are fit for.
Next, after your trial school, you want your easy and secure employment, which is the matter of chief importance. For, even on the present system, the boys who have really intense art capacity, generally make painters of themselves; but then, the best half of their early energy is lost in the battle of life. Before a good painter can get employment, his mind has always been embittered, and his genius distorted. A common mind usually stoops, in plastic chill, to whatever is asked of it, and scrapes or daubs its way complacently into public favour. But your great men quarrel with you, and you revenge yourselves by starving them for the first half of their lives. Precisely in the degree in which any painter possesses original genius, is at present the increase of moral certainty that during his early years he will have a hard battle to fight; and that just at the time when his conceptions ought to be full and happy, his temper gentle, and his hopes enthusiastic – just at that most critical period, his heart is full of anxieties and household cares; he is chilled by disappointments, and vexed by injustice; he becomes obstinate in his errors, no less than in his virtues, and the arrows of his aim are blunted, as the reeds of his trust are broken. […]

II. APPLICATION.— We are now considering how to apply our genius; and we are to do it as economists, in three ways
To various work;

Free Trade visitors

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Visitors
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detail - monitor
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Free Trade installation detail

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installation detail
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Free Trade installation detail1

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detail Royal Exchange
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trade display technology

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Display technology
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trade buying

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The Market
Przemysl, Polish Ukranian border 1995