Aratra Pentelici, Seven Lectures On The Elements Of Sculpture — John Ruskin

Excerpt: ...at resemblance, ) you have there a perfect example of the Greek ideal of method in sculpture. And you will admit that, to the simplest person whom we could introduce as a critic, that fish would be a satisfactory, nay, almost a deceptive, fish; while, to any one caring for subtleties of art, I need not point out that every touch of the chisel is applied with consummate knowledge, and that it would be impossible to convey more truth and life with the given quantity of workmanship. 131. Here is, indeed, a drawing by Turner, (Edu. 131), in which, with some fifty times the quantity of labor, and far more highly educated faculty of sight, the artist has expressed some qualities of luster and color which only very wise persons indeed could perceive in a John Dory; and this piece of paper contains, therefore, much more, and more subtle, art, than the Japan ivory; but are we sure that it is therefore greater art? or that the painter was better employed in producing this drawing, which only one person can possess, and only one in a hundred enjoy, than he would have been in producing two or three pieces on a larger scale, which should have been at once accessible to, and enjoyable by, a number of simpler persons? Suppose, for instance, that Turner, instead of faintly touching this outline, on white paper, with his camel's-hair pencil, had struck the main forms of his fish into marble, thus, (Fig. 7); and instead of coloring the white paper so delicately that, perhaps, only a few of the most keenly observant artists in England can see it at all, had, with his strong hand, tinted the marble with a few colors, deceptive to the people, and harmonious to the initiated; suppose that he had even conceded so much to the spirit of popular applause as to allow of a bright glass bead being inlaid for the eye, in the Japanese manner; and that the enlarged, deceptive, and popularly pleasing work had been carved on the outside of a great building,