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Is it not strange that tho’ I have an unusually clear idea of the sermon, the only impression last Sunday afternoon is one of complete quiet? It was no effort to understand, nor was I, as usual, dreadfully tired in church; but I had the consciousness, not of peace nor of rest, but of quiet, such as when one sits out of doors in the country, not thinking, only seeing.

4, Russell Place,

January 17th, 1857.

To Mary Harris.

ABSENCE OF ART IN SCOTLAND

On Wednesday evening we went to hear Ruskin give a lecture on the occasion of the presentation of some money offered by him as a prize; but, owing to the imperfection of the work, the money was divided between the competitors, as some compensation for their loss of time. Their failure, he explained, was mainly owing to his having set them to work which was not possible for them to do well;—the carving of a panel, the subject to be taken from some historical event of the year. Apparently both parties took it for granted that it was to be about the Crimean War; for Ruskin said that he had overlooked the fact that no one could represent that which he had never seen; and, when the old builders lived, happily for art, but unhappily for the nations, wars were continually fought within sight, their scenes were present with the workman; they haunted him; he dreamed of them by night, and could not help carving them. Ruskin had expected better things of the workmen, because he saw with what spirit cheap periodicals were illustrated; really we see quite wonderful things in them. He had expected, too, that there would have been many competitors, and there were only two. He felt sorry for the failure; but not so sorry as he would have been, had he not noticed that things which begin too swimmingly do not always succeed so well as those which fail at first. The workmen would not be altogether pleased that instead of a prize, he gave them a lecture. “Last year,” he said, “while travelling in the North of Scotland I was very painfully impressed by the absence of any art—amongst grand natural scenery; the inhabitants seem to be utterly without any art-expression of their perception of it; no buildings rise, no pictures are painted; truly the huts of grey stone are roofed with the peat, set picturesquely in oblique lines, which seem to have been marked by the stroke of some gigantic claymore. The only evidence of any power of design among them is the arrangement of the lines of colour in the tartan. And in Inverness, a city built on the shore of the most beautiful estuary in the world, at the foot of the Grampians, set as it were like a jewel to clasp the folds of the mountains to the blue zone of the sea—the only building which has evidence of any recognition of art is the modern decorated prison.”