his chief greatness consists in the exercise of this love, and he is truly to be revered only so far as his acts and thoughts are those of kindness; so that Love is the light of his crown, as well as the giver of it: lastly, because his strength depends on the affections of his people, and it is only their love which can securely crown him, and for ever. So that Love is the strength of his crown as well as the light of it.
Then, surrounding the King, or in various obedience to him, appear the dependent virtues, as Fortitude, Temperance, Truth, and other attendant spirits, of all which I cannot now give account, wishing you only to notice the one to whom are entrusted the guidance and administration of the public revenues. Can you guess which it is likely to be? Charity, you would have thought, should have something to do with the business; but not so, for she is too hot to attend carefully to it. Prudence, perhaps, you think of in the next place. No, she is too timid, and loses opportunities in making up her mind. Can it be Liberality then? No: Liberality is entrusted with some small sums; but she is a bad accountant, and is allowed no important place in the exchequer. But the treasures are given in charge to a virtue of which we hear too little in modern times, as distinct from others; Magnanimity: largeness of heart: not softness or weakness of heart, mind you—but capacity of heart—the great measuring virtue, which weighs in heavenly balances all that may be given, and all that may be gained; and sees how to do noblest things in noblest ways: which of two goods comprehends and therefore chooses the greatest: which of two personal sacrifices dares and accepts the largest: which, out of the avenues of beneficence, treads always that which opens farthest into the blue fields of futurity: that character, in fine, which, in those words taken by us at first for the description of a Queen among the nations, looks less to the present power than to the distant promise; "Strength and honour are in her clothing—and she shall rejoice IN TIME TO COME."
FOOTNOTES:
[2] Proverbs xiii. 23: "Much food is in the tillage of the poor: but there is that is destroyed for want of judgment."
[3] See note 1st, in Addenda [p. 86].
[4] Compare Wordsworth's Essay on the Poor-Law Amendment Bill. I quote one important passage:—"But, if it be not safe to touch the abstract question of man's right in a social state to help himself even in the last extremity, may we not still contend for the duty of a Christian government, standing in loco parentis towards all its subjects, to make such effectual provision that no one shall be in danger of perishing either through the neglect or harshness of its legislation? Or, waiving this, is it not indisputable that the claim of the State to the allegiance, involves the protection of the subject? And, as all rights in one party impose a correlative duty upon another, it follows that the right of the State to require the services of its members, even to the jeoparding of their lives in the common defence, establishes a right in the people (not to be gainsaid by utilitarians and economists) to public support when, from any cause, they may be unable to support themselves."—(See note 2nd in Addenda [p. 90]).
[5] See note 3rd, in Addenda [p. 95].
[6] See note 4th, in Addenda [p. 101].
[7] See the noble passage on this tradition in "Casa Guidi Windows."
[8] Several reasons may account for the fact that goldsmith's work is so wholesome for young artists; first, that it gives great firmness of hand to deal for some time with a solid substance; again, that it induces caution and steadiness—a boy trusted with chalk and paper suffers an immediate temptation to scrawl upon it and play with it, but he dares not scrawl on gold, and he cannot play with it; and, lastly, that it gives great delicacy and precision of touch to work upon minute forms, and to aim at producing richness and finish of design correspondent to the preciousness of the material.
[9] See note in Addenda on the nature of property [p. 107].
[10] See note 5th, in Addenda [p. 102].
LECTURE II.
The heads of our subject which remain for our consideration this evening are, you will remember, the accumulation and the distribution of works of art. Our complete inquiry fell into four divisions—first, how to get our genius; then, how to apply our genius; then, how to accumulate its results; and lastly, how to distribute them. We considered, last evening, how to discover and apply it;—we have to-night to examine the modes of its preservation and distribution.
III. Accumulation.—And now, in the outset, it will be well to face that objection which we put aside a little while ago; namely, that perhaps it is not well to have a great deal of good art; and that it should not be made too cheap.
"Nay," I can imagine some of the more generous among you, exclaiming, "we will not trouble you to disprove that objection; of course it is a selfish and base one: good art, as well as other good things, ought to be made as cheap as possible, and put as far as we can within the reach of everybody."
Pardon me, I am not prepared to admit that. I rather side with the selfish objectors, and believe that art ought not to be made cheap, beyond a certain point; for the amount of pleasure that you can receive from any great work, depends wholly on the quantity of attention and energy of mind you can bring to bear upon it. Now, that attention and energy depend much more on the freshness of the thing than you would at all suppose; unless you very carefully studied the movements of your own minds. If you see things of the same kind and of equal value very frequently, your reverence for them is infallibly diminished, your powers of attention get gradually wearied, and your interest and enthusiasm worn out; and you cannot in that state bring to any given work the energy necessary to enjoy it. If, indeed, the question were only between enjoying a great many pictures each a little, or one picture very much, the sum of enjoyment being in each case the same, you might rationally desire to possess rather the larger quantity, than the small; both because one work of art always in some sort illustrates another, and because quantity diminishes the chances of destruction. But the question is not a merely arithmetical one of this kind. Your fragments of broken admirations will not, when they are put together, make up one whole admiration; two and two, in this case, do not make four, nor anything like four. Your good picture, or book, or work of art of any kind, is always in some degree fenced and closed about with difficulty. You may think of it as of a kind of cocoa-nut, with very often rather an unseemly shell, but good milk and kernel inside. Now, if you possess twenty cocoa-nuts, and being thirsty, go impatiently from one to the other, giving only a single scratch with the point of your knife to the shell of each, you will get no milk from all the twenty. But if you leave nineteen of them alone, and give twenty cuts to the shell of one, you will get through it, and at the milk of it. And the tendency of the human mind is always to get tired before it has made its twenty cuts; and to try another nut; and moreover, even if it has perseverance enough to crack