LECTURE III. WAR. (Delivered at the Royal Military Academy, Woolwich, 1865.) 85. YOUNG SOLDIERS, I do not doubt but that many of you came unwillingly to-night, and many in merely contemptuous curiosity, to hear what a writer on painting could possibly say, or would venture to say, respecting your great art of war. You may well think within yourselves, that a painter might, perhaps without immodesty, lecture younger painters upon painting, but not young lawyers upon law, nor young physicians upon medicine-least of all, it may seem to you, young warriors upon war. And, indeed, when I was asked to address you, I declined at first, and declined long; for I felt that you would not be interested in my special business, and would certainly think there was small need for me to come to teach you your's. Nay, I knew that there ought to be no such need, for the great veteran soldiers of England are now men every way so thoughtful, so noble, and so good, that no other teaching than their knightly example, and their few words of grave and tried counsel, should be either necessary for you, or even, without assurance of due modesty in the offerer, endured by you. 86. But being asked, not once nor twice, I have not ventured persistently to refuse; and I will try, in very few words, to lay before you some reason why you should accept my excuse, and hear me patiently. You may imagine that your work is wholly foreign to, and separate from, mine. So far from that, all the pure and noble arts of peace are founded on war; no great art ever yet rose on earth, but among a nation of soldiers. There is no art among a shepherd people, if it remains at peace. There is no art among an agricultural people, if it remains at peace. Commerce is barely consistent with fine art; but cannot produce it. Manufacture not only is unable to produce it, but invariably destroys whatever seeds of it exist. There is no great art possible to a nation but that which is based on battle. 87. Now, though I hope you love fighting for its own sake, you must, I imagine, be surprised at my assertion that there is any such good fruit of fighting. You supposed, probably, that your office was to defend the works of peace, but certainly not to found them: nay, the common course of war, you may have thought, was only to destroy them. And truly, I, who tell you this of the use of war, should have been the last of men to tell you so, had I trusted my own experience only. Hear why: I have given a considerable part of my life to the investigation of Venetian painting; and the result of that enquiry was my fixing upon one man as the greatest of all Venetians, and therefore, as I believed, of all painters whatsoever. I formed this faith (whether right or wrong matters at present nothing) in the supremacy of the painter Tintoret, under a roof covered with his pictures; and of those pictures, three of the noblest were then in the form of shreds of ragged canvas, mixed up with the laths of the roof, rent through by three Austrian shells. Now, it is not every lecturer who could tell you that he had seen three of his favourite pictures torn to rags by bomb-shells. And after such a sight, it is not every lecturer who would tell you that, nevertheless, war was the foundation of all great art. 88. Yet the conclusion is inevitable, from any careful comparison of the states of great historic races at different periods. Merely to show you what I mean, I will sketch for you, very briefly, the broad steps of the advance of the best art of the world. The first dawn of it is in Egypt; and the power of it is founded on the perpetual contemplation of death, and of future judgment, by the mind of a nation of which the ruling caste were priests, and the second, soldiers. The greatest works produced by them are sculptures of their kings going out to battle, or receiving the homage of conquered armies. And you must remember also, as one of the great keys to the splendour of the Egyptian nation, that the priests were not occupied in theology only. Their theology was the basis of practical government and law; so that they were not so much priests as religious judges; the office of Samuel, among the Jews, being as nearly as possible correspondent to theirs. 89. All the rudiments of art then, and much more than the rudiments of all science, are laid first by this great warrior-nation, which held in contempt all mechanical trades, and in absolute hatred the peaceful life of shepherds. From Egypt art passes directly into Greece, where all poetry, and all painting, are nothing else than the description, praise, or dramatic representation of war, or of the exercises which prepare for it, in their connection with offices of religion. All Greek institutions had first respect to war; and their conception of it, as one necessary office of all human and divine life, is expressed simply by the images of their guiding gods. Apollo is the god of all wisdom of the intellect; he bears the arrow and the bow, before he bears the lyre. Again, Athena is the goddess of all wisdom in conduct. Yet it is by the helmet and the shield, oftener than by the shuttle, that she is distinguished from other deities. 90. There were, however, two great differences in principle between the Greek and the Egyptian theories of policy. In Greece there was no soldier caste; every citizen was necessarily a soldier. And, again, while the Greeks rightly despised mechanical arts as much as the Egyptians, they did not make the fatal mistake of despising agricultural and pastoral life; but perfectly honoured both. These two conditions of truer thought raise them quite into the highest rank of wise manhood that has yet been reached; for all our great arts, and nearly all our great thoughts, have been borrowed or derived from them. Take away from us what they have given; and we hardly can imagine how low the modern European would stand. 91. Now, you are to remember, in passing to the next phase of history, that though you must have war to produce art-you must also have much more than war; namely, an art-instinct or genius in the people and that, though all the talent for painting * [The modern, observe, because we have lost all inheritance from Florence or Venice, and are now pensioners upon the Greeks only.] |