I

RUSKIN'S CHAIR

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RUSKIN'S CHAIR

"This is all very well," said a visitor, after looking over the sketches and books of the Ruskin Museum at Coniston, "but what the public would prefer is to see the chair he sat in." Something tangible, that brings before us the person, rather than his work, is what we all like; for though successful workers are continually asking us to judge them by what they have done, we know there is more. We want to see their portraits; their faces will tell us—better than their books—whether we can trust them. We want to know their lives by signs and tokens unconsciously left, before we fall down and worship them for what, after all, may be only a lucky accident of success. They cry out indignantly that this should not be; but so it is.

Relics of heroes even the ancient Romans treasured. Relics of saints our forefathers would fight for and die for. Relics of those who in modern times have made our lives better and brighter we need not be ashamed of preserving. And among relics I count all the little incidents, the by-play of life, the anecdotes which betray character, so long as they are truly told and "lovingly," as George Richmond said about his portrait of Ruskin. "Have not you flattered him?" asked the severe parents. "No; it is only the truth lovingly told."

In his study you see two chairs; one, half-drawn from the table, with pen and ink laid out before it, where he used to sit at his writing; the light from the bay window coming broadly in at his left hand, and the hills, when he lifted his eyes, for his help. The other, by the fireside, was the arm chair into which he migrated for those last ten years of patience, no longer with his own books but others' books before him. Then, turning to the chapter on his Music, you can see the chair by the drawing-room table, in which, making a pulpit of it, he preached his baby sermon—"People, be dood!"

(Miss Brickhill, photographer)

RUSKIN'S STUDY AT BRANTWOOD

But it is about another kind of chair that I have more to say in this first chapter, if you will forgive the pun; the metaphorical chair which professors are supposed to fill at the University. Ruskin's was nominally that of Fine Art, but he was really a sort of teaching Teufelsdröckh, Professor of Things in General. His chair stood on four legs, or even more, like some antique settles of carved oak; very unlike the Swiss milking-stool of the modern specialist. Not that it stood more firmly; good business-folk, whose sons fell under his influence, and dons with an eye to college successes in the schools, thought his teaching deplorable; and from their point of view much was to be said. It cannot be denied, also, that like the born teacher he was, he sometimes tried to make silk purses out of sows' ears.

He taught none of us to paint saleable pictures nor to write popular books. A pupil once asked him outright to do so. "I hope you're not serious," he replied. To learn the artist's trade he definitely advised going to the Royal Academy schools; his drawing school at Oxford was meant for an almost opposite purpose—to show the average amateur that really Fine Art is a worshipful thing, far beyond him; to be appreciated (and that alone is worth while) after a course of training, but never to be attained unless by birth-gift.

At the start this school, provided by the Professor at his own cost of time, trouble and money, was well attended; in the second year there were rarely more than three pupils. It was in 1872 that I joined it, having seen him before, introduced by Mr. Alfred W. Hunt, R.W.S., the landscape painter. Ruskin asked to see what I had been doing, and I showed him a niggled and panoramic bit of lake-scenery. "Yes, you have been looking at Hunt and Inchbold." I hoped I had been looking at Nature. "You must learn to draw." Dear me! thought I, and I have been exhibiting landscapes. "And you try to put in more than you can manage." Well, I supposed he would have given me a good word for that!

So he set me to facsimile what seemed like a tangle of scrabbles in charcoal, and I bungled it. Whereupon I had to do it again, and was a most miserable undergraduate. But the nice thing about him was that he did not say, "Go away; you are no good"; but set me something drier and harder still. I had not the least idea what it was all coming to; though there was the satisfaction of looking through the sliding cases between whiles at "Liber Studiorum" plates—rather ugly, some of them, I whispered to myself—and little scraps of Holbein and Burne-Jones, quite delicious, for I had the pre-Raphaelite measles badly just then, in reaction from the water-colour landscape in which I had been