Lectures on Architecture and Painting Part 7

But the clever child will not, or will only by force, consent to this discipline. He finds other means of expressing himself with his pencil somehow or another; and presently you find his paper covered with sketches of his grandfather and grandmother, and uncles, and cousins--sketches of the room, and the house, and the cat, and the dog, and the country outside, and everything in the world he can set his eyes on; and he gets on, and even his child's work has a value in it--a truth which makes it worth keeping; no one knows how precious, perhaps, that portrait of his grandfather may be, if any one has but the sense to keep it till the time when the old man can be seen no more up the lawn, nor by the wood. That child is working in the Middle-Age spirit--the other in the modern spirit.

129. But there is something still more striking in the evils which have resulted from the modern regardlessness of truth. Consider, for instance, its effect on what is called historical painting. What do you at present _mean_ by historical painting? Now-a-days it means the endeavoring, by the power of imagination, to portray some historical event of past days. But in the Middle Ages, it meant representing the acts of _their own_ days; and that is the only historical painting worth a straw. Of all the wastes of time and sense which Modernism has invented--and they are many--none are so ridiculous as this endeavor to represent past history. What do you suppose our descendants will care for our imaginations of the events of former days? Suppose the Greeks, instead of representing their own warriors as they fought at Marathon, had left us nothing but their imaginations of Egyptian battles; and suppose the Italians, in like manner, instead of portraits of Can Grande and Dante, or of Leo the Tenth and Raphael, had left us nothing but imaginary portraits of Pericles and Miltiades? What fools we should have thought them! how bitterly we should have been provoked with their folly! And that is precisely what our descendants will feel towards us, so far as our grand historical and cla.s.sical schools are concerned. What do we care, they will say, what those nineteenth century people fancied about Greek and Roman history! If they had left us a few plain and rational sculptures and pictures of their own battles, and their own men, in their every-day dress, we should have thanked them. "Well, but,"

you will say, "we _have_ left them portraits of our great men, and paintings of our great battles." Yes, you have indeed, and that is the only historical painting that you either have, or can have; but you don't _call_ that historical painting. You don't thank the men who do it; you look down upon them and dissuade them from it, and tell them they don't belong to the grand schools. And yet they are the only true historical painters, and the only men who will produce any effect on their own generation, or on any other. Wilkie was a historical painter, Chantrey a historical sculptor, because they painted, or carved, the veritable things and men they saw, not men and things as they believed they might have been, or should have been. But no one tells such men they are historical painters, and they are discontented with what they do; and poor Wilkie must needs travel to see the grand school, and imitate the grand school, and ruin himself. And you have had mult.i.tudes of other painters ruined, from the beginning, by that grand school.

There was Etty, naturally as good a painter as ever lived, but no one told him what to paint, and he studied the antique, and the grand schools, and painted dances of nymphs in red and yellow shawls to the end of his days. Much good may they do you! He is gone to the grave, a lost mind. There was Flaxman, another naturally great man, with as true an eye for nature as Raphael,--he stumbles over the blocks of the antique statues--wanders in the dark valley of their ruins to the end of his days. He has left you a few outlines of muscular men straddling and frowning behind round s.h.i.+elds. Much good may they do you! Another lost mind. And of those who are lost namelessly, who have not strength enough even to make themselves known, the poor pale students who lie buried forever in the abysses of the great schools, no account can be rendered; they are numberless.

130. And the wonderful thing is, that of all these men whom you now have come to call the great masters, there was _not one_ who confessedly did not paint his own present world, plainly and truly. Homer sang of what he saw; Phidias carved what he saw; Raphael painted the men of his own time in their own caps and mantles; and every man who has arisen to eminence in modern times has done so altogether by his working in their way, and doing the things he saw. How did Reynolds rise? Not by painting Greek women, but by painting the glorious little living Ladies this, and Ladies that, of his own time. How did Hogarth rise? Not by painting Athenian follies, but London follies. Who are the men who have made an impression upon you yourselves--upon your own age? I suppose the most popular painter of the day is Landseer. Do you suppose he studied dogs and eagles out of the Elgin Marbles? And yet in the very face of these plain, incontrovertible, all-visible facts, we go on from year to year with the base system of Academy teaching, in spite of which every one of these men has risen: I say _in spite_ of the entire method and aim of our art-teaching. It destroys the greater number of its pupils altogether; it hinders and paralyzes the greatest. There is not a living painter whose eminence is not in spite of everything he has been taught from his youth upwards, and who, whatever his eminence may be, has not suffered much injury in the course of his victory. For observe: this love of what is called ideality or beauty in preference to truth, operates not only in making us choose the past rather than the present for our subjects, but it makes us falsify the present when we do take it for our subject. I said just now that portrait-painters were historical painters;--so they are; but not good ones, because not faithful ones.

The beginning and end of modern portraiture is adulation. The painters cannot live but by flattery; we should desert them if they spoke honestly. And therefore we can have no good portraiture; for in the striving after that which is _not_ in their model, they lose the inner and deeper n.o.bleness which _is_ in their model. I saw not long ago, for the first time, the portrait of a man whom I knew well--a young man, but a religious man--and one who had suffered much from sickness. The whole dignity of his features and person depended upon the expression of serene, yet solemn, purpose sustaining a feeble frame; and the painter, by way of flattering him, strengthened him, and made him athletic in body, gay in countenance, idle in gesture; and the whole power and being of the man himself were lost. And this is still more the case with our public portraits. You have a portrait, for instance, of the Duke of Wellington at the end of the North Bridge--one of the thousand equestrian statues of Modernism--studied from the show-riders of the amphitheater, with their horses on their hind-legs in the saw-dust.[38]

Do you suppose that was the way the Duke sat when your destinies depended on him? when the foam hung from the lips of his tired horse, and its wet limbs were dashed with the b.l.o.o.d.y slime of the battle-field, and he himself sat anxious in his quietness, grieved in his fearlessness, as he watched, scythe-stroke by scythe-stroke, the gathering in of the harvest of death? You would have done something had you thus left his image in the enduring iron, but nothing now.

[Footnote 38: I intended this last sentence of course to apply to the thousand statues, not definitely to the one in immediate question, which, though tainted with the modern affectation, and the nearest example of it to which I could refer an Edinburgh audience, is the work of a most promising sculptor; and was indeed so far executed on the principles a.s.serted in the text, that the Duke gave Mr. Steele a sitting on horse-back, in order that his mode of riding might be accurately represented. This, however, does not render the following remarks in the text nugatory, as it may easily be imagined that the action of the Duke, exhibiting his riding in his own grounds, would be different from his action, or inaction, when watching the course of a battle.

I must also make a most definite exception in favor of Marochetti, who seems to me a thoroughly great sculptor; and whose statue of Coeur de Lion, though, according to the principle just stated, not to be considered a _historical_ work, is an _ideal_ work of the highest beauty and value. Its erection in front of Westminster Hall will tend more to educate the public eye and mind with respect to art, than anything we have done in London for centuries.

April 21st, 1854.--I stop the press in order to insert the following paragraph from to-day's _Times_:--"THE STATUE OF COEUR DE LION.--_Yesterday morning a number of workmen were engaged in pulling down the cast which was placed in New Palace Yard of the colossal equestrian statue of Richard Coeur de Lion. Sir C. Barry was, we believe, opposed to the cast remaining there any longer, and to the putting up of the statue itself on the same site, because it did not harmonize with the building. During the day the horse and figure were removed, and before night the pedestal was demolished and taken away._"]

131. But the time has at last come for all this to be put an end to; and nothing can well be more extraordinary than the way in which the men have risen who are to do it. Pupils in the same schools, receiving precisely the same instruction which for so long a time has paralyzed every one of our painters,--these boys agree in disliking to copy the antique statues set before them. They copy them as they are bid, and they copy them better than any one else; they carry off prize after prize, and yet they hate their work. At last they are admitted to study from the life; they find the life very different from the antique, and say so. Their teachers tell them the antique is the best, and they mustn't copy the life. They agree among themselves that they like the life, and that copy it they will. They do copy it faithfully, and their masters forthwith declare them to be lost men. Their fellow-students hiss them whenever they enter the room. They can't help it; they join hands and tacitly resist both the hissing and the instruction.

Accidentally, a few prints of the works of Giotto, a few casts from those of Ghiberti, fall into their hands, and they see in these something they never saw before--something intensely and everlastingly true. They examine farther into the matter; they discover for themselves the greater part of what I have laid before you to-night; they form themselves into a body, and enter upon that crusade which has. .h.i.therto been victorious. And which will be absolutely and triumphantly victorious. The great mistake which has. .h.i.therto prevented the public mind from fully going with them must soon be corrected. That mistake was the supposition that, instead of wis.h.i.+ng to recur to the _principles_ of the early ages, these men wished to bring back the _ignorance_ of the early ages. This notion, grounded first on some hardness in their earlier works, which resulted--as it must always result--from the downright and earnest effort to paint nature as in a looking-gla.s.s, was fostered partly by the jealousy of their beaten compet.i.tors, and partly by the pure, perverse, and hopeless ignorance of the whole body of art-critics, so called, connected with the press. No notion was ever more baseless or more ridiculous. It was a.s.serted that the Pre-Raphaelites did not draw well, in the face of the fact, that the princ.i.p.al member of their body, from the time he entered the schools of the Academy, had literally enc.u.mbered himself with the medals given as prizes for drawing. It was a.s.serted that they did not draw in perspective, by men who themselves knew no more of perspective than they did of astrology; it was a.s.serted that they sinned against the appearances of nature, by men who had never drawn so much as a leaf or a blossom from nature in their lives. And, lastly, when all these calumnies or absurdities would tell no more, and it began to be forced upon men's unwilling belief that the style of the Pre-Raphaelites _was_ true and was according to nature, the last forgery invented respecting them is, that they copy photographs. You observe how completely this last piece of malice defeats all the rest. It admits they are true to nature, though only that it may deprive them of all merit in being so.

But it may itself be at once refuted by the bold challenge to their opponents to produce a Pre-Raphaelite picture, or anything like one, by themselves copying a photograph.

132. Let me at once clear your minds from all these doubts, and at once contradict all these calumnies.

Pre-Raphaelitism has but one principle, that of absolute, uncompromising truth in all that it does, obtained by working everything, down to the most minute detail, from nature, and from nature only.[39] Every Pre-Raphaelite landscape background is painted to the last touch, in the open air, from the thing itself. Every Pre-Raphaelite figure, however studied in expression, is a true portrait of some living person. Every minute accessory is painted in the same manner. And one of the chief reasons for the violent opposition with which the school has been attacked by other artists, is the enormous cost of care and labor which such a system demands from those who adopt it, in contradistinction to the present slovenly and imperfect style.

[Footnote 39: Or, where imagination is necessarily trusted to, by always endeavoring to conceive a fact as it really was likely to have happened, rather than as it most prettily _might_ have happened. The various members of the school are not all equally severe in carrying out its principles, some of them trusting their memory or fancy very far; only all agreeing in the effort to make their memories so accurate as to seem like portraiture, and their fancy so probable as to seem like memory.]

133. This is the main Pre-Raphaelite principle. But the battle which its supporters have to fight is a hard one; and for that battle they have been fitted by a very peculiar character.

You perceive that the princ.i.p.al resistance they have to make is to that spurious beauty, whose attractiveness had tempted men to forget, or to despise, the more n.o.ble quality of sincerity: and in order at once to put them beyond the power of temptation from this beauty, they are, as a body, characterized by a total absence of sensibility to the ordinary and popular forms of artistic gracefulness; while, to all that still lower kind of prettiness, which regulates the disposition of our scenes upon the stage, and which appears in our lower art, as in our annuals, our commonplace portraits, and statuary, the Pre-Raphaelites are not only dead, but they regard it with a contempt and aversion approaching to disgust. This character is absolutely necessary to them in the present time; but it, of course, occasionally renders their work comparatively unpleasing. As the school becomes less aggressive, and more authoritative--which it will do--they will enlist into their ranks men who will work, mainly, upon their principles, and yet embrace more of those characters which are generally attractive, and this great ground of offense will be removed.

134. Again: you observe that as landscape painters, their principles must, in great part, confine them to mere foreground work; and singularly enough, that they may not be tempted away from this work, they have been born with comparatively little enjoyment of those evanescent effects and distant sublimities which nothing but the memory can arrest, and nothing but a daring conventionalism portray. But for this work they are not now needed. Turner, the first and greatest of the Pre-Raphaelites, has done it already; he, though his capacity embraced everything, and though he would sometimes, in his foregrounds, paint the spots upon a dead trout, and the dyes upon a b.u.t.terfly's wing, yet for the most part delighted to begin at that very point where the other branches of Pre-Raphaelitism become powerless.

135. Lastly. The habit of constantly carrying everything up to the utmost point of completion deadens the Pre-Raphaelites in general to the merits of men who, with an equal love of truth up to a certain point, yet express themselves habitually with speed and power, rather than with finish, and give abstracts of truth rather than total truth. Probably to the end of time artists will more or less be divided into these cla.s.ses, and it will be impossible to make men like Millais understand the merits of men like Tintoret; but this is the more to be regretted because the Pre-Raphaelites have enormous powers of imagination, as well as of realization, and do not yet themselves know of how much they would be capable, if they sometimes worked on a larger scale, and with a less laborious finish.

136. With all their faults, their pictures are, since Turner's death, the best--incomparably the best--on the walls of the Royal Academy; and such works as Mr. Hunt's "Claudio and Isabella" have never been rivaled, in some respects never approached, at any other period of art.

This I believe to be a most candid statement of all their faults and all their deficiencies; not such, you perceive, as are likely to arrest their progress. The "magna est veritas" was never more sure of accomplishment than by these men. Their adversaries have no chance with them. They will gradually unite their influence with whatever is true or powerful in the reactionary art of other countries; and on their works such a school will be founded as shall justify the third age of the world's civilization, and render it as great in creation as it has been in discovery.

137. And now let me remind you but of one thing more. As you examine into the career of historical painting, you will be more and more struck with the fact I have this evening stated to you,--that none was ever truly great but that which represented the living forms and daily deeds of the people among whom it arose;--that all precious historical work records, not the past, but the present. Remember, therefore, that it is not so much in _buying_ pictures, as in _being_ pictures, that you can encourage a n.o.ble school. The best patronage of art is not that which seeks for the pleasures of sentiment in a vague ideality, nor for beauty of form in a marble image; but that which educates your children into living heroes, and binds down the flights and the fondnesses of the heart into practical duty and faithful devotion.

ADDENDA

TO

THE FOURTH LECTURE.

138. I could not enter, in a popular lecture, upon one intricate and difficult question, closely connected with the subject of Pre-Raphaelitism--namely, the relation of invention to observation; and composition to imitation. It is still less a question to be discussed in the compa.s.s of a note; and I must defer all careful examination of it to a future opportunity. Nevertheless, it is impossible to leave altogether unanswered the first objection which is now most commonly made to the Pre-Raphaelite work, namely, that the principle of it seems adverse to all exertion of imaginative power. Indeed, such an objection sounds strangely on the lips of a public who have been in the habit of purchasing, for hundreds of pounds, small squares of Dutch canvas, containing only servile imitations of the coa.r.s.est nature. It is strange that an imitation of a cow's head by Paul Potter, or of an old woman's by Ostade, or of a scene of tavern debauchery by Teniers, should be purchased and proclaimed for high art, while the rendering of the most n.o.ble expressions of human feeling in Hunt's "Isabella," or of the loveliest English landscape, haunted by sorrow, in Millais' "Ophelia,"

should be declared "puerile." But, strange though the utterance of it be, there is some weight in the objection. It is true that so long as the Pre-Raphaelites only paint from nature, however carefully selected and grouped, their pictures can never have the characters of the highest cla.s.s of compositions. But, on the other hand, the shallow and conventional arrangements commonly called "compositions" by the artists of the present day, are infinitely farther from great art than the most patient work of the Pre-Raphaelites. That work is, even in its humblest form, a secure foundation, capable of infinite superstructure; a reality of true value, as far as it reaches, while the common artistical effects and groupings are a vain effort at superstructure without foundation--utter negation and fallacy from beginning to end.

139. But more than this, the very faithfulness of the Pre-Raphaelites arises from the redundance of their imaginative power. Not only can all the members of the school compose a thousand times better than the men who pretend to look down upon them, but I question whether even the greatest men of old times possessed more exhaustless invention than either Millais or Rossetti; and it is partly the very ease with which they invent which leads them to despise invention. Men who have no imagination, but have learned merely to produce a spurious resemblance of its results by the recipes of composition, are apt to value themselves mightily on their concoctive science; but the man whose mind a thousand living imaginations haunt, every hour, is apt to care too little for them; and to long for the perfect truth which he finds is not to be come at so easily. And though I may perhaps hesitatingly admit that it is possible to love this truth of reality too intensely, yet I have no hesitation in declaring that there is _no hope_ for those who despise it, and that the painter, whoever he be, who despises the pictures already produced by the Pre-Raphaelites, has himself no capacity of becoming a great painter of any kind. Paul Veronese and Tintoret themselves, without desiring to imitate the Pre-Raphaelite work, would have looked upon it with deep respect, as John Bellini looked on that of Albert Durer; none but the ignorant could be unconscious of its truth, and none but the insincere regardless of it.

140. How far it is possible for men educated on the severest Pre-Raphaelite principles to advance from their present style into that of the great schools of composition, I do not care to inquire, for at this period such an advance is certainly not desirable. Of great compositions we have enough, and more than enough, and it would be well for the world if it were willing to take some care of those it has. Of pure and manly truth, of stern statement of the things done and seen around us daily, we have hitherto had nothing. And in art, as in all other things, besides the literature of which it speaks, that sentence of Carlyle is inevitably and irreversibly true:--"Day after day, looking at the high destinies which yet await literature, which literature will ere long address herself with more decisiveness than ever to fulfill, it grows clearer to us that the proper task of literature lies in the domain of BELIEF, within which, poetic fiction, as it is charitably named, will have to take a quite new figure, if allowed a settlement there. Whereby were it not reasonable to prophesy that this exceeding great mult.i.tude of novel writers and such like, must, in a new generation, gradually do one of two things, either retire into nurseries, and work for children, minors, and semifatuous persons of both s.e.xes, or else, what were far better, sweep their novel fabric into the dust cart, and betake them, with such faculty as they have, _to understand and record what is true_, of which surely there is and forever will be a whole infinitude unknown to us, of infinite importance to us? Poetry will more and more come to be understood as nothing but higher knowledge, and the only genuine Romance for grown persons, Reality."

141. As I was copying this sentence, a pamphlet was put into my hand, written by a clergyman, denouncing "Woe, woe, woe! to exceedingly young men of stubborn instincts, calling themselves Pre-Raphaelites."[40]

[Footnote 40: Art, its Const.i.tution and Capacities, etc. By the Rev.

Edward Young, M.A. The phrase "exceedingly young men of stubborn instincts," being twice quoted (carefully excluding the context) from my pamphlet on Pre-Raphaelitism.]

I thank G.o.d that the Pre-Raphaelites _are_ young, and that strength is still with them, and life, with all the war of it, still in front of them. Yet Everett Millais is this year of the exact age at which Raphael painted the "Disputa," his greatest work; Rossetti and Hunt are both of them older still--nor is there one member of the body so young as Giotto, when he was chosen from among the painters of Italy to decorate the Vatican. But Italy, in her great period, knew her great men, and did not "despise their youth." It is reserved for England to insult the strength of her n.o.blest children--to wither their warm enthusiasm early into the bitterness of patient battle, and leave to those whom she should have cherished and aided, no hope but in resolution, no refuge but in disdain.

142. Indeed it is woful, when the young usurp the place, or despise the wisdom, of the aged; and among the many dark signs of these times, the disobedience and insolence of youth are among the darkest. But with whom is the fault? Youth never yet lost its modesty where age had not lost its honor; nor did childhood ever refuse its reverence, except where age had forgotten correction. The cry, "Go up, thou bald head," will never be heard in the land which remembers the precept, "See that ye despise not one of these little ones;" and although indeed youth _may_ become despicable, when its eager hope is changed into presumption, and its progressive power into arrested pride, there is something more despicable still, in the old age which has learned neither judgment nor gentleness, which is weak without charity, and cold without discretion.