Modern Painters Volume I Part 24

-- 9. Total absence of even the slightest effort at their representation, in ancient landscape.

Such are the great attributes of the upper cloud region; whether they are beautiful, valuable, or impressive, it is not our present business to decide, nor to endeavor to discover the reason of the somewhat remarkable fact, that the whole field of ancient landscape art affords, as far as we remember, but one instance of any effort whatever to represent the character of this cloud region. That one instance is the landscape of Rubens in our own gallery, in which the mottled or fleecy sky is given with perfect truth and exquisite beauty. To this should perhaps be added, some of the backgrounds of the historical painters, where horizontal lines were required, and a few level bars of white or warm color cross the serenity of the blue. These, as far as they go, are often very perfect, and the elevation and repose of their effect might, we should have thought, have pointed out to the landscape painters that there was something (I do not say much, but certainly something) to be made out of the high clouds. Not one of them, however, took the hint. To whom, among them all, can we look for the slightest realization of the fine and faithful descriptive pa.s.sage of the "Excursion," already alluded to:--

"But rays of light, Now suddenly diverging from the orb, Retired behind the mountain tops, or veiled By the dense air, shot upwards to the crown Of the blue firmament--aloft--and wide: And mult.i.tudes of little floating clouds, Ere we, who saw, of change were conscious, pierced Through their ethereal texture, had become Vivid as fire,--Clouds separately poised, Innumerable mult.i.tude of forms Scattered through half the circle of the sky; And giving back, and shedding each on each, With prodigal communion, the bright hues Which from the unapparent fount of glory They had imbibed, and ceased not to receive.

That which the heavens displayed the liquid deep Repeated, but with unity sublime."

-- 10. The intense and constant study of them by Turner.

There is but one master whose works we can think of while we read this; one alone has taken notice of the neglected upper sky; it is his peculiar and favorite field; he has watched its every modification, and given its every phase and feature; at all hours, in all seasons, he has followed its pa.s.sions and its changes, and has brought down and laid open to the world another apocalypse of heaven.

There is scarcely a painting of Turner's, in which serenity of sky and intensity of light are aimed at together, in which these clouds are not used, though there are not two cases in which they are used altogether alike. Sometimes they are crowded together in ma.s.ses of mingling light, as in the Shylock; every part and atom sympathizing in that continuous expression of slow movement which Sh.e.l.ley has so beautifully touched:--

"Underneath the young gray dawn A mult.i.tude of dense, white fleecy clouds, Were wandering in thick flocks along the mountains, _Shepherded by the slow, unwilling wind_."

At other times they are blended with the sky itself, felt only here and there by a ray of light calling them into existence out of its misty shade, as in the Mercury and Argus; sometimes, where great repose is to be given, they appear in a few detached, equal, rounded flakes, which seem to hang motionless, each like the shadow of the other, in the deep blue of the zenith, as in the Acro-Corinth; sometimes they are scattered in fiery flying fragments, each burning with separate energy, as in the Temeraire; sometimes woven together with fine threads of intermediate darkness, melting into the blue as in the Napoleon. But in all cases the exquisite manipulation of the master gives to each atom of the mult.i.tude its own character and expression. Though they be countless as leaves, each has its portion of light, its shadow, its reflex, its peculiar and separating form.

-- 11. His vignette, Sunrise on the Sea.

Take for instance the ill.u.s.trated edition of Rogers's Poems,[31] and open it at the 80th page, and observe how every attribute which I have pointed out in the upper sky, is there rendered with the faithfulness of a mirror; the long lines of parallel bars, the delicate curvature from the wind, which the inclination of the sail shows you to be from the west; the excessive sharpness of every edge which is turned to the wind, the faintness of every opposite one, the breaking up of each bar into rounded ma.s.ses, and finally, the inconceivable variety with which individual form has been given to every member of the mult.i.tude, and not only individual form, but roundness and substance even where there is scarcely a hairbreadth of cloud to express it in. Observe, above everything, the varying indication of s.p.a.ce and depth in the whole, so that you may look through and through from one cloud to another, feeling not merely how they retire to the horizon, but how they melt back into the recesses of the sky; every interval being filled with absolute air, and all its s.p.a.ces so melting and fluctuating, and fraught with change as with repose, that as you look, you will fancy that the rays shoot higher and higher into the vault of light, and that the pale streak of horizontal vapor is melting away from the cloud that it crosses. Now watch for the next barred sunrise, and take this vignette to the window, and test it by nature's own clouds, among which you will find forms and pa.s.sages, I do not say merely _like_, but apparently the actual originals of parts of this very drawing. And with whom will you do this, except with Turner? Will you do it with Claude, and set that blank square yard of blue, with its round, white, flat fixtures of similar cloud, beside the purple infinity of nature, with her countless mult.i.tude of shadowy lines, and flaky waves, and folded veils of variable mist? Will you do it with Poussin, and set those ma.s.sy steps of unyielding solidity, with the chariot-and-four driving up them, by the side of the delicate forms which terminate in threads too fine for the eye to follow them, and of texture so thin woven that the earliest stars s.h.i.+ne through them? Will you do it with Salvator, and set that volume of violent and restless manufactory smoke beside those calm and quiet bars, which pause in the heaven as if they would never leave it more?

-- 12. His use of the cirrus in expressing mist.

Now we have just seen how Turner uses the sharp-edged cirri when he aims at giving great transparency of air. But it was shown in the preceding chapter that sunbeams, or the appearance of them, are always sharper in their edge in proportion as the air is more misty, as they are most defined in a room where there is most dust flying about in it.

Consequently, in the vignette we have been just noticing, where transparency is to be given, though there is a blaze of light, its beams are never edged; a tendency to rays is visible, but you cannot in any part find a single marked edge of a rising sunbeam, the sky is merely more flushed in one place than another. Now let us see what Turner does when he wants mist. Turn to the Alps at Daybreak, page 193, in the same book. Here we have the cirri used again, but now they have no sharp edges, they are all fleecy and mingling with each other, though every one of them has the most exquisite indication of individual form, and they melt back, not till they are lost in exceeding light, as in the other plate, but into a mysterious, fluctuating, shadowy sky, of which, though the light penetrates through it all, you perceive every part to be charged with vapor. Notice particularly the half-indicated forms even where it is most serene, behind the snowy mountains. And now, how are the sunbeams drawn? no longer indecisive, flus.h.i.+ng, palpitating, every one is sharp and clear, and terminated by definite shadow; note especially the marked lines on the upper cloud; finally, observe the difference in the mode of indicating the figures, which are here misty and indistinguishable, telling only as shadows, though they are near and large, while those in the former vignette came clear upon the eye, though they were so far off as to appear mere points.

-- 13. His consistency in every minor feature.

Now is this perpetual consistency in all points, this concentration of every fact which can possibly bear upon what we are to be told, this watchfulness of the entire meaning and system of nature, which fills every part and s.p.a.ce of the picture with coincidences of witness, which come out upon us, as they would from the reality, more fully and deeply in proportion to the knowledge we possess and the attention we give, admirable or not? I could go on writing page after page on every sky of Turner's, and pointing out fresh truths in every one. In the Havre, for instance, of the Rivers of France we have a new fact pointed out to us with respect to these cirri, namely, their being so faint and transparent as not to be distinguishable from the blue of the sky, (a frequent case,) except in the course of a sunbeam, which, however, does not illumine their edges, they being not solid enough to reflect light, but penetrates their whole substance, and renders them flat, luminous forms in its path, instantly and totally lost at its edge. And thus a separate essay would be required by every picture, to make fully understood the new phenomena which it treated and ill.u.s.trated. But after once showing what are the prevailing characteristics of these clouds, we can only leave it to the reader to trace them wherever they occur. There are some fine and characteristic pa.s.sages of this kind of cloud given by Stanfield, though he dares not use them in mult.i.tude, and is wanting in those refined qualities of form which it is totally impossible to explain in words, but which, perhaps, by simple outlines, on a large scale, selected from the cloud forms of various artists, I may in following portions of the work ill.u.s.trate with the pencil.

-- 14. The color of the upper clouds.

Of the colors of these clouds I have spoken before, (Sec. I. Chap. II.;) but though I then alluded to their purity and vividness, I scarcely took proper notice of their variety; there is indeed in nature variety in all things, and it would be absurd to insist on it in each case, yet the colors of these clouds are so marvellous in their changefulness, that they require particular notice. If you watch for the next sunset, when there are a considerable number of these cirri in the sky, you will see, especially at the zenith, that the sky does not remain of the same color for two inches together; one cloud has a dark side of cold blue, and a fringe of milky white; another, above it, has a dark side of purple and an edge of red; another, nearer the sun, has an under-side of orange and an edge of gold; these you will find mingled with, and pa.s.sing into the blue of the sky, which in places you will not be able to distinguish from the cool gray of the darker clouds, and which will be itself full of gradation, now pure and deep, now faint and feeble; and all this is done, not in large pieces, nor on a large scale, but over and over again in every square yard, so that there is no single part nor portion of the whole sky which has not in itself variety of color enough for a separate picture, and yet no single part which is like another, or which has not some peculiar source of beauty, and some peculiar arrangement of color of its own. Now, instead of this, you get in the old masters--Cuyp, or Claude, or whoever they may be--a field of blue, delicately, beautifully, and uniformly shaded down to the yellow sun, with a certain number of similar clouds, each with a dark side of the same gray, and an edge of the same yellow. I do not say that nature never does anything like this, but I say that her _principle_ is to do a great deal more, and that what she does more than this,--what I have above described, and what you may see in nine sunsets out of ten,--has been observed, attempted, and rendered by Turner only, and by him with a fidelity and force which presents us with more essential truth, and more clear expression and ill.u.s.tration of natural laws, in every wreath of vapor, than composed the whole stock of heavenly information, which lasted Cuyp and Claude their lives.

-- 15. Recapitulation.

We close then our present consideration of the upper clouds, to return to them when we know what is beautiful; we have at present only to remember that of these clouds, and the truths connected with them, none before Turner had taken any notice whatsoever; that had they therefore been even feebly and imperfectly represented by him, they would yet have given him a claim to be considered more extended and universal in his statement of truths than any of his predecessors; how much more when we find that deep fidelity in his studied and perfect skies which opens new sources of delight to every advancement of our knowledge, and to every added moment of our contemplation.

FOOTNOTES

[31] I use this work frequently for ill.u.s.tration, because it is the only one I know in which the engraver has worked with delicacy enough to give the real forms and touches of Turner. I can reason from these plates, (in questions of form only,) nearly as well as I could from the drawings.

CHAPTER III.

OF TRUTH OF CLOUDS:--SECONDLY, OF THE CENTRAL CLOUD REGION.

-- 1. Extent and typical character of the central cloud region.

We have next to investigate the character of the Central Cloud Region, which I consider as including all clouds which are the usual characteristic of ordinary serene weather, and which touch and envelop the mountains of Switzerland, but never affect those of our own island; they may therefore be considered as occupying a s.p.a.ce of air ten thousand feet in height, extending from five to fifteen thousand feet above the sea.

-- 2. Its characteristic clouds, requiring no attention nor thought for their representation, are therefore favorite subjects with the old masters.

These clouds, according to their elevation, appear with great variety of form, often partaking of the streaked or mottled character of the higher region, and as often, when the precursors of storm, manifesting forms closely connected with the lowest rain clouds; but the species especially characteristic of the central region is a white, ragged, irregular, and scattered vapor, which has little form and less color, and of which a good example may be seen in the largest landscape of Cuyp, in the Dulwich Gallery. When this vapor collects into ma.s.ses, it is partially rounded, clumsy, and ponderous, as if it would tumble out of the sky, shaded with a dull gray, and totally devoid of any appearance of energy or motion. Even in nature, these clouds are comparatively uninteresting, scarcely worth raising our heads to look at; and on canvas, valuable only as a means of introducing light, and breaking the monotony of blue; yet they are, perhaps, beyond all others the favorite clouds of the Dutch masters. Whether they had any motive for the adoption of such materials, beyond the extreme facility with which acres of canvas might thus be covered without any troublesome exertion of thought; or any temptation to such selections beyond the impossibility of error where nature shows no form, and the impossibility of deficiency where she shows no beauty, it is not here the place to determine. Such skies are happily beyond the reach of criticism, for he who tells you nothing cannot tell you a falsehood. A little flake-white, glazed with a light brush over the carefully toned blue, permitted to fall into whatever forms chance might determine, with the single precaution that their edges should be tolerably irregular, supplied, in hundreds of instances, a sky quite good enough for all ordinary purposes--quite good enough for cattle to graze, or boors to play at nine-pins under--and equally devoid of all that could gratify, inform, or offend.

-- 3. The clouds of Salvator and Poussin.

But although this kind of cloud is, as I have said, typical of the central region, it is not one which nature is fond of. She scarcely ever lets an hour pa.s.s without some manifestation of finer forms, sometimes approaching the upper cirri, sometimes the lower c.u.mulus. And then in the lower outlines, we have the nearest approximation which nature ever presents to the clouds of Claude, Salvator, and Poussin, to the characters of which I must request especial attention, as it is here only that we shall have a fair opportunity of comparing their skies with those of the modern school. I shall, as before, glance rapidly at the great laws of specific form, and so put it in the power of the reader to judge for himself of the truth of representation.

-- 4. Their essential characters.

-- 5. Their angular forms and general decision of outline.

Clouds, it is to be remembered, are not so much local vapor, as vapor rendered locally visible by a fall of temperature. Thus a cloud, whose parts are in constant motion, will hover on a snowy mountain, pursuing constantly the same track upon its flanks, and yet remaining of the same size, the same form, and in the same place, for half a day together. No matter how violent or how capricious the wind may be, the instant it approaches the spot where the chilly influence of the snow extends, the moisture it carries becomes visible, and then and there the cloud forms on the instant, apparently maintaining its form against the wind, though the careful and keen eye can see all its parts in the most rapid motion across the mountain. The outlines of such a cloud are of course not determined by the irregular impulses of the wind, but by the fixed lines of radiant heat which regulate the temperature of the atmosphere of the mountain. It is terminated, therefore, not by changing curves, but by steady right lines of more or less decision, often exactly correspondent with the outline of the mountain on which it is formed, and falling therefore into grotesque peaks and precipices. I have seen the marked and angular outline of the Grandes Jora.s.ses, at Chamounix, mimicked in its every jag by a line of clouds above it. Another resultant phenomenon is the formation of cloud in the calm air to leeward of a steep summit; cloud whose edges are in rapid motion, where they are affected by the current of the wind above, and stream from the peak like the smoke of a volcano, yet always vanish at a certain distance from it as steam issuing from a chimney. When wet weather of some duration is approaching, a small white spot of cloud will sometimes appear low on the hill flanks; it will not move, but will increase gradually for some little time, then diminish, still without moving; disappear altogether, reappear ten minutes afterwards, exactly in the same spot; increase to a greater extent than before, again disappear, again return, and at last permanently; other similar spots of cloud forming simultaneously, with various fluctuations, each in its own spot, and at the same level on the hill-side, until all expand, join together, and form an unbroken veil of threatening gray, which darkens gradually into storm. What in such cases takes place palpably and remarkably, is more or less a law of formation in all clouds whatsoever; they being bounded rather by lines expressive of changes of temperature in the atmosphere, than by the impulses of the currents of wind in which those changes take place. Even when in rapid and visible motion across the sky, the variations which take place in their outlines are not so much alterations of position and arrangement of parts, as they are the alternate formation and disappearance of parts. There is, therefore, usually a parallelism and consistency in their great outlines, which give system to the smaller curves of which they are composed; and if these great lines be taken, rejecting the minutiae of variation, the resultant form will almost always be angular, and full of character and decision. In the flock-like fields of equal ma.s.ses, each individual ma.s.s has the effect, not of an ellipse or circle, but of a rhomboid; the sky is crossed and checkered, not honeycombed; in the lower c.u.muli, even though the most rounded of all clouds, the groups are not like balloons or bubbles, but like towers or mountains. And the result of this arrangement in ma.s.ses more or less angular, varied with, and chiefly constructed of, curves of the utmost freedom and beauty, is that appearance of exhaustless and fantastic energy which gives every cloud a marked character of its own, suggesting resemblances to the specific outlines of organic objects. I do not say that such accidental resemblances are a character to be imitated; but merely that they bear witness to the originality and vigor of separate conception in cloud forms, which give to the scenery of the sky a force and variety no less delightful than that of the changes of mountain outline in a hill district of great elevation; and that there is added to this a spirit-like feeling, a capricious, mocking imagery of pa.s.sion and life, totally different from any effects of inanimate form that the earth can show.

-- 6. The composition of their minor curves.

The minor contours, out of which the larger outlines are composed, are indeed beautifully curvilinear; but they are never monotonous in their curves. First comes a concave line, then a convex one, then an angular jag, breaking off into spray, then a downright straight line, then a curve again, then a deep gap, and a place where all is lost and melted away, and so on; displaying in every inch of the form renewed and ceaseless invention, setting off grace with rigidity, and relieving flexibility with force, in a manner scarcely less admirable, and far more changeful than even in the muscular forms of the human frame. Nay, such is the exquisite composition of all this, that you may take any single fragment of any cloud in the sky, and you will find it put together as if there had been a year's thought over the plan of it, arranged with the most studied inequality--with the most delicate symmetry--with the most elaborate contrast, a picture in itself. You may try every other piece of cloud in the heaven, and you will find them every one as perfect, and yet not one in the least like another.

-- 7. Their characters, as given by S. Rosa.

Now it may perhaps, for anything we know, or have yet proved, be highly expedient and proper, in art, that this variety, individuality, and angular character should be changed into a ma.s.s of convex curves, each precisely like its neighbor in all respects, and unbroken from beginning to end;--it may be highly original, masterly, bold, whatever you choose to call it; but it is _false_. I do not take upon me to a.s.sert that the clouds which in ancient Germany were more especially and peculiarly devoted to the business of catching princesses off desert islands, and carrying them to enchanted castles, might not have possessed something of the pillowy organization which we may suppose best adapted for functions of such delicacy and dispatch. But I do mean to say that the clouds which G.o.d sends upon his earth as the ministers of dew, and rain, and shade, and with which he adorns his heaven, setting them in its vault for the thrones of his spirits, have not in one instant or atom of their existence, one feature in common with such conceptions and creations. And there are, beyond dispute, more direct and unmitigated falsehoods told, and more laws of nature set at open defiance in _one_ of the "rolling" skies of Salvator, such as that marked 159 in the Dulwich Gallery, than were ever attributed, even by the ignorant and unfeeling, to all the wildest flights of Turner put together.

-- 8. Monotony and falsehood of the clouds of the Italian School generally.

And it is not as if the error were only occasional. It is systematic and constant in all the Italian masters of the seventeenth century, and in most of the Dutch. They looked at clouds as at everything else which did not particularly help them in their great end of deception, with utter carelessness and bluntness of feeling,--saw that there were a great many rounded pa.s.sages in them,--found it much easier to sweep circles than to design beauties, and sat down in their studies, contented with perpetual repet.i.tions of the same spherical conceptions, having about the same relation to the clouds of nature, that a child's carving of a turnip has to the head of the Apollo. Look at the round things about the sun in the bricky Claude, the smallest of the three Seaports in the National Gallery. They are a great deal more like half-crowns than clouds. Take the ropy, tough-looking wreath in the Sacrifice of Isaac, and find one part of it, if you can, which is not the repet.i.tion of every other part of it, all together being as round and vapid as the brush could draw them; or take the two cauliflower-like protuberances in No. 220 of the Dulwich Gallery, and admire the studied similarity between them; you cannot tell which is which; or take the so-called Nicholas Poussin, No.

212, Dulwich Gallery, in which, from the brown trees to the right-hand side of the picture, there is not one line which is not physically impossible.

-- 9. Vast size of congregated ma.s.ses of cloud.

-- 10. Demonstrable by comparison with mountain ranges.