Note 4 — WHERE ARE WE IN ART?

It is almost pathetic to see the nation doing the best it knows, offering its patronage and its public buildings, its monuments of great men and its money, and then to mark the results. It is fortunate that most of the frescoes are scaling off the walls of the Houses of Parliament. It is fortunate that Nelson and the Duke of York are hoisted up so high that they cannot be scrutinized at all; it is fortunate that most of the public statues are generally so begrimed with dirt and soot that few can make out their intention. But it is we who are responsible for half at least of their failures.4 We have, as a nation, neither the artistic feeling which delights in the beautiful with a sort of worship, nor the sensuous religious instincts which require an outward and visible sign of our inward faith. Therefore our best chance of great work seems to be when the common-sense necessity is so large in its demands, that carrying it out even on merely utilitarian principles may give a grand result by the force of circumstances, almost without our will,—the very fulfilment of the working conditions on an enormous scale forcing a certain grandeur on the work. As, for instance, when a viaduct is carried over a deep valley and river, upon a lofty series of arches, as in many Welsh railways and at Newcastle, there are elements of strength, durability, might, and therefore majesty, which the barest execution of the requirements cannot take away. The Suspension Bridge hung high in the air above the ships in the Menai Straits, and that over the narrow hollow of the Avon, have a beauty of lightness and grace all their own—Waterloo Bridge, which Canova declared to be worth coming to England to see—are all specimens of a kind of work which we may hope to see multiplied, and even improved upon, as the adaptation of art to the common necessities of our civilization becomes more common, and is taken in hand by a higher and more educated class of men.