[Ruskin, John]. "To the Editor of the Times." London Times 21,733 (5 May 1854), 9.

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Sir, I trust that, with your usual kindnes and liberality, you will give me room in your columns for a few words re-specting the principal Præ-Raphaelite picture in the exhibition of the Royal Academy this year. Its painter is travelling in the Holy Land, and can neither suffer nor benefit by criticism. But I am solicitous that justice should be done to his work, not for his sake, but for that of the large number of persons who, during the year, will have an opportunity of seeing it, and on whom, if rightly understood, it may make an impression for which they will ever afterwards be grateful.

I speak of the picture called "the Light of the World," by Mr. Holman Hunt. Standing by it yesterday for upwards of an hour, I watched the effect it produced upon the passers by. Few stopped to look at it, and those who did almost invariably with some contemptuous expression, founded on what appeared to them the absurdity of representing the Saviour with a lantern in his hand. Now, it ought to be remembered that, whatever may be the faults of a Præ-Raphaelite picture, it must at least have taken much time; and therefore it may not unwarrantably be presumed that conceptions which are to be so laboriously realized are not adopted in the first instance without some reflection. So that the spectator may surely question with himself whether the objections which now strike every one in a moment might not possibly have occurred to the painter himself, either during the time devoted to the design of the picture, or the months of labour required for its execution; and whether, therefore, there may not be some reason for his persistence in such an idea, not discoverable at the first glance.

Mr. Hunt has never explained his work to me. I give what appears to me its palpable interpretation.

The legend beneath it is the beautiful verse,–"Behold, I stand at the door and knock. If any man hear my voice, and open the door, I will come in to him, and will sup with him, and he with me."–Rev. iii., 20. On the left hand side of the picture is seen this door of the human soul. It is fast barred: its bars and nails are rusty; it is knitted and bound to its stanchions by creeping tendrils of ivy, showing that it has never been opened. A bat hovers about it; its threshold is overgrown with brambles, nettles, and fruitless corn,–the wild grass"whereof the mower filleth not his hand, nor he that bindeth sheaves his bosom." Christ approaches it in the night time,–Christ, in his everlasting offices of prophet, priest, and king. He wears the white robe, representing the power of the Spirit upon him; the jewelled robe and breastplate, representing the sacerdotal investiture; the rayed crown of gold, inwoven with the crown of thorns; not dead thorns, but now bearing soft leaves, for the healing of the nations.

Now, when Christ enters any human heart, he bears with him a twofold light. First the light of conscience, which displays past sin, and afterwards the light of peace, the hope of salvation. The lantern, carried in Christ’s left hand, is this light of conscience. Its fire is red and fierce; it falls only on the closed door, on the weeds which encumber it, and on an apple shaken from one of the trees of the orchard, thus marking that the entire awakening of the conscience is not merely to committed, but to hereditary guilt.

This light is suspended by a chain, wrapt about the wrist of the figure, showing that the light which reveals sin appears to the sinner also to chain the hand of Christ.

The light which proceeds from the head of the figure, on the contrary, is that of the hope of salvation; it springs from the crown of throns, and, though itself sad, subdued, and full of softness, is yet so powerful that it entirely melts into the glow of it the forms of the leaves and boughs, which it crosses, showing that every earthly object must be hidden by this light, where its sphere extends.

I believe there are very few persons on whom the picture, thus justly understood, will not produce a deep impression. For my own part, I think it one of the very noblest works of sacred art ever produced in this or any other age.

It may, perhaps, be answered, that works of art ought not to stand in need of interpretation fo this kind. Indeed, we have been so long accustomed to see pictures painted without any purpose or intention whatsoever, that the unexpected existence of meaning in a work of art may very naturally at first appear to us an unkind demand on the spectator’s understanding. But in a few years more I hope the English public may be convinced of the simple truth, that neither a great fact, nor a great man, nor a great poem, nor a great picture, nor any other great thing, can be fathomed to the very bottom in a moment of time; and that no high enjoyment, either in picture-seeing or any other occupation, is consistent with a total lethargy of the powers of the understanding.

As far as regards the technical qualities of Mr. Hunt’s painting, I would only ask the spectator to observe this difference between true Præ-Raphaelite work and its imitations. The true work represents all objects exactly as they would appear in nature in the position and at the distances which the arrangement of the picture supposes. The false work represents them with all their details, as if seen through a microscope. Examine closely the ivy on the door in Mr. Hunt’s picture, and there will not be found in it a single clear outline. All is the most exquisite mystery of coulour; becoming reality at its due distance. In like manner, examine the small gems on the robe of the figure. Not one will be made out in form, and yet there is not one of all those minute points of green colour, but it has two or three distinctly varied shades of green in it, giving it mysterious value and lustre.

The spurious imitations of Præ-Raphaelite work represent the most minute leaves and other objects with sharp outlines, but with no variety of colour, and with none of the concealment, none of the infinity of nature. With this spurious work the walls of the Academy are half covered; of the true school one very small example may be pointed out, being hung so low that it might otherwise escpae attention. It is not by any means perfect, but still very lovely, the study of a calm pool in a mountain brook, by Mr. J. Dearle, No. 191, "Evening, on the Marchno, North Wales."

I have the honour to be, Sir,

Your obedient servant,


Denmark-hill, May 4.

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Copyright © 1998 Thomas J. Tobin.

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