Miscellanies Part 6

England has given to the world one great poetess, Elizabeth Barrett Browning. By her side Mr. Swinburne would place Miss Christina Rossetti, whose New Year hymn he describes as so much the n.o.blest of sacred poems in our language, that there is none which comes near it enough to stand second. 'It is a hymn,' he tells us, 'touched as with the fire, and bathed as in the light of sunbeams, tuned as to chords and cadences of refluent sea-music beyond reach of harp and organ, large echoes of the serene and sonorous tides of heaven.' Much as I admire Miss Rossetti's work, her subtle choice of words, her rich imagery, her artistic naivete, wherein curious notes of strangeness and simplicity are fantastically blended together, I cannot but think that Mr. Swinburne has, with n.o.ble and natural loyalty, placed her on too lofty a pedestal. To me, she is simply a very delightful artist in poetry. This is indeed something so rare that when we meet it we cannot fail to love it, but it is not everything. Beyond it and above it are higher and more sunlit heights of song, a larger vision, and an ampler air, a music at once more pa.s.sionate and more profound, a creative energy that is born of the spirit, a winged rapture that is born of the soul, a force and fervour of mere utterance that has all the wonder of the prophet, and not a little of the consecration of the priest.

Mrs. Browning is unapproachable by any woman who has ever touched lyre or blown through reed since the days of the great AEolian poetess. But Sappho, who, to the antique world was a pillar of flame, is to us but a pillar of shadow. Of her poems, burnt with other most precious work by Byzantine Emperor and by Roman Pope, only a few fragments remain.

Possibly they lie mouldering in the scented darkness of an Egyptian tomb, clasped in the withered hands of some long-dead lover. Some Greek monk at Athos may even now be poring over an ancient ma.n.u.script, whose crabbed characters conceal lyric or ode by her whom the Greeks spoke of as 'the Poetess' just as they termed Homer 'the Poet,' who was to them the tenth Muse, the flower of the Graces, the child of Eros, and the pride of h.e.l.las--Sappho, with the sweet voice, the bright, beautiful eyes, the dark hyacinth-coloured hair. But, practically, the work of the marvellous singer of Lesbos is entirely lost to us.

We have a few rose-leaves out of her garden, that is all. Literature nowadays survives marble and bronze, but in old days, in spite of the Roman poet's n.o.ble boast, it was not so. The fragile clay vases of the Greeks still keep for us pictures of Sappho, delicately painted in black and red and white; but of her song we have only the echo of an echo.

Of all the women of history, Mrs. Browning is the only one that we could name in any possible or remote conjunction with Sappho.

Sappho was undoubtedly a far more flawless and perfect artist. She stirred the whole antique world more than Mrs. Browning ever stirred our modern age. Never had Love such a singer. Even in the few lines that remain to us the pa.s.sion seems to scorch and burn. But, as unjust Time, who has crowned her with the barren laurels of fame, has twined with them the dull poppies of oblivion, let us turn from the mere memory of a poetess to one whose song still remains to us as an imperishable glory to our literature; to her who heard the cry of the children from dark mine and crowded factory, and made England weep over its little ones; who, in the feigned sonnets from the Portuguese, sang of the spiritual mystery of Love, and of the intellectual gifts that Love brings to the soul; who had faith in all that is worthy, and enthusiasm for all that is great, and pity for all that suffers; who wrote the Vision of Poets and Casa Guidi Windows and Aurora Leigh.

As one, to whom I owe my love of poetry no less than my love of country, has said of her:

Still on our ears The clear 'Excelsior' from a woman's lip Rings out across the Apennines, although The woman's brow lies pale and cold in death With all the mighty marble dead in Florence.

For while great songs can stir the hearts of men, Spreading their full vibrations through the world In ever-widening circles till they reach The Throne of G.o.d, and song becomes a prayer, And prayer brings down the liberating strength That kindles nations to heroic deeds, She lives--the great-souled poetess who saw From Casa Guidi windows Freedom dawn On Italy, and gave the glory back In sunrise hymns to all Humanity!

She lives indeed, and not alone in the heart of Shakespeare's England, but in the heart of Dante's Italy also. To Greek literature she owed her scholarly culture, but modern Italy created her human pa.s.sion for Liberty. When she crossed the Alps she became filled with a new ardour, and from that fine, eloquent mouth, that we can still see in her portraits, broke forth such a n.o.ble and majestic outburst of lyrical song as had not been heard from woman's lips for more than two thousand years.

It is pleasant to think that an English poetess was to a certain extent a real factor in bringing about that unity of Italy that was Dante's dream, and if Florence drove her great singer into exile, she at least welcomed within her walls the later singer that England had sent to her.

If one were asked the chief qualities of Mrs. Browning's work, one would say, as Mr. Swinburne said of Byron's, its sincerity and its strength.

Faults it, of course, possesses. 'She would rhyme moon to table,' used to be said of her in jest; and certainly no more monstrous rhymes are to be found in all literature than some of those we come across in Mrs.

Browning's poems. But her ruggedness was never the result of carelessness. It was deliberate, as her letters to Mr. Horne show very clearly. She refused to sandpaper her muse. She disliked facile smoothness and artificial polish. In her very rejection of art she was an artist. She intended to produce a certain effect by certain means, and she succeeded; and her indifference to complete a.s.sonance in rhyme often gives a splendid richness to her verse, and brings into it a pleasurable element of surprise.

In philosophy she was a Platonist, in politics an Opportunist. She attached herself to no particular party. She loved the people when they were king-like, and kings when they showed themselves to be men. Of the real value and motive of poetry she had a most exalted idea. 'Poetry,'

she says, in the preface of one of her volumes, 'has been as serious a thing to me as life itself; and life has been a very serious thing. There has been no playing at skittles for me in either. I never mistook pleasure for the final cause of poetry, nor leisure for the hour of the poet. I have done my work so far, not as mere hand and head work apart from the personal being, but as the completest expression of that being to which I could attain.'

It certainly is her completest expression, and through it she realises her fullest perfection. 'The poet,' she says elsewhere, 'is at once richer and poorer than he used to be; he wears better broadcloth, but speaks no more oracles.' These words give us the keynote to her view of the poet's mission. He was to utter Divine oracles, to be at once inspired prophet and holy priest; and as such we may, I think, without exaggeration, conceive her. She was a Sibyl delivering a message to the world, sometimes through stammering lips, and once at least with blinded eyes, yet always with the true fire and fervour of lofty and unshaken faith, always with the great raptures of a spiritual nature, the high ardours of an impa.s.sioned soul. As we read her best poems we feel that, though Apollo's shrine be empty and the bronze tripod overthrown, and the vale of Delphi desolate, still the Pythia is not dead. In our own age she has sung for us, and this land gave her new birth. Indeed, Mrs.

Browning is the wisest of the Sibyls, wiser even than that mighty figure whom Michael Angelo has painted on the roof of the Sistine Chapel at Rome, poring over the scroll of mystery, and trying to decipher the secrets of Fate; for she realised that, while knowledge is power, suffering is part of knowledge.

To her influence, almost as much as to the higher education of women, I would be inclined to attribute the really remarkable awakening of woman's song that characterises the latter half of our century in England. No country has ever had so many poetesses at once. Indeed, when one remembers that the Greeks had only nine muses, one is sometimes apt to fancy that we have too many. And yet the work done by women in the sphere of poetry is really of a very high standard of excellence. In England we have always been p.r.o.ne to underrate the value of tradition in literature. In our eagerness to find a new voice and a fresh mode of music, we have forgotten how beautiful Echo may be. We look first for individuality and personality, and these are, indeed, the chief characteristics of the masterpieces of our literature, either in prose or verse; but deliberate culture and a study of the best models, if united to an artistic temperament and a nature susceptible of exquisite impressions, may produce much that is admirable, much that is worthy of praise. It would be quite impossible to give a complete catalogue of all the women who since Mrs. Browning's day have tried lute and lyre. Mrs.

Pfeiffer, Mrs. Hamilton King, Mrs. Augusta Webster, Graham Tomson, Miss Mary Robinson, Jean Ingelow, Miss May Kendall, Miss Nesbit, Miss May Probyn, Mrs. Craik, Mrs. Meynell, Miss Chapman, and many others have done really good work in poetry, either in the grave Dorian mode of thoughtful and intellectual verse, or in the light and graceful forms of old French song, or in the romantic manner of antique ballad, or in that 'moment's monument,' as Rossetti called it, the intense and concentrated sonnet.

Occasionally one is tempted to wish that the quick, artistic faculty that women undoubtedly possess developed itself somewhat more in prose and somewhat less in verse. Poetry is for our highest moods, when we wish to be with the G.o.ds, and in our poetry nothing but the very best should satisfy us; but prose is for our daily bread, and the lack of good prose is one of the chief blots on our culture. French prose, even in the hands of the most ordinary writers, is always readable, but English prose is detestable. We have a few, a very few, masters, such as they are. We have Carlyle, who should not be imitated; and Mr. Pater, who, through the subtle perfection of his form, is inimitable absolutely; and Mr. Froude, who is useful; and Matthew Arnold, who is a model; and Mr. George Meredith, who is a warning; and Mr. Lang, who is the divine amateur; and Mr. Stevenson, who is the humane artist; and Mr. Ruskin, whose rhythm and colour and fine rhetoric and marvellous music of words are entirely unattainable. But the general prose that one reads in magazines and in newspapers is terribly dull and c.u.mbrous, heavy in movement and uncouth or exaggerated in expression. Possibly some day our women of letters will apply themselves more definitely to prose.

Their light touch, and exquisite ear, and delicate sense of balance and proportion would be of no small service to us. I can fancy women bringing a new manner into our literature.

However, we have to deal here with women as poetesses, and it is interesting to note that, though Mrs. Browning's influence undoubtedly contributed very largely to the development of this new song-movement, if I may so term it, still there seems to have been never a time during the last three hundred years when the women of this kingdom did not cultivate, if not the art, at least the habit, of writing poetry.

Who the first English poetess was I cannot say. I believe it was the Abbess Juliana Berners, who lived in the fifteenth century; but I have no doubt that Mr. Freeman would be able at a moment's notice to produce some wonderful Saxon or Norman poetess, whose works cannot be read without a glossary, and even with its aid are completely unintelligible. For my own part, I am content with the Abbess Juliana, who wrote enthusiastically about hawking; and after her I would mention Anne Askew, who in prison and on the eve of her fiery martyrdom wrote a ballad that has, at any rate, a pathetic and historical interest. Queen Elizabeth's 'most sweet and sententious ditty' on Mary Stuart is highly praised by Puttenham, a contemporary critic, as an example of 'Exargasia, or the Gorgeous in Literature,' which somehow seems a very suitable epithet for such a great Queen's poems. The term she applies to the unfortunate Queen of Scots, 'the daughter of debate,' has, of course, long since pa.s.sed into literature. The Countess of Pembroke, Sir Philip Sidney's sister, was much admired as a poetess in her day.

In 1613 the 'learned, virtuous, and truly n.o.ble ladie,' Elizabeth Carew, published a Tragedie of Marian, the Faire Queene of Jewry, and a few years later the 'n.o.ble ladie Diana Primrose' wrote A Chain of Pearl, which is a panegyric on the 'peerless graces' of Gloriana. Mary Morpeth, the friend and admirer of Drummond of Hawthornden; Lady Mary Wroth, to whom Ben Jonson dedicated The Alchemist; and the Princess Elizabeth, the sister of Charles I., should also be mentioned.

After the Restoration women applied themselves with still greater ardour to the study of literature and the practice of poetry. Margaret, d.u.c.h.ess of Newcastle, was a true woman of letters, and some of her verses are extremely pretty and graceful. Mrs. Aphra Behn was the first Englishwoman who adopted literature as a regular profession. Mrs.

Katharine Philips, according to Mr. Gosse, invented sentimentality. As she was praised by Dryden, and mourned by Cowley, let us hope she may be forgiven. Keats came across her poems at Oxford when he was writing Endymion, and found in one of them 'a most delicate fancy of the Fletcher kind'; but I fear n.o.body reads the Matchless Orinda now. Of Lady Winchelsea's Nocturnal Reverie Wordsworth said that, with the exception of Pope's Windsor Forest, it was the only poem of the period intervening between Paradise Lost and Thomson's Seasons that contained a single new image of external nature. Lady Rachel Russell, who may be said to have inaugurated the letter-writing literature of England; Eliza Haywood, who is immortalised by the badness of her work, and has a niche in The Dunciad; and the Marchioness of Wharton, whose poems Waller said he admired, are very remarkable types, the finest of them being, of course, the first named, who was a woman of heroic mould and of a most n.o.ble dignity of nature.

Indeed, though the English poetesses up to the time of Mrs. Browning cannot be said to have produced any work of absolute genius, they are certainly interesting figures, fascinating subjects for study. Amongst them we find Lady Mary Wortley Montague, who had all the caprice of Cleopatra, and whose letters are delightful reading; Mrs. Centlivre, who wrote one brilliant comedy; Lady Anne Barnard, whose Auld Robin Gray was described by Sir Walter Scott as 'worth all the dialogues Corydon and Phillis have together spoken from the days of Theocritus downwards,' and is certainly a very beautiful and touching poem; Esther Vanhomrigh and Hester Johnson, the Vanessa and the Stella of Dean Swift's life; Mrs.

Thrale, the friend of the great lexicographer; the worthy Mrs. Barbauld; the excellent Mrs. Hannah More; the industrious Joanna Baillie; the admirable Mrs. Chapone, whose Ode to Solitude always fills me with the wildest pa.s.sion for society, and who will at least be remembered as the patroness of the establishment at which Becky Sharp was educated; Miss Anna Seward, who was called 'The Swan of Lichfield'; poor L. E. L., whom Disraeli described in one of his clever letters to his sister as 'the personification of Brompton--pink satin dress, white satin shoes, red cheeks, snub nose, and her hair a la Sappho'; Mrs. Ratcliffe, who introduced the romantic novel, and has consequently much to answer for; the beautiful d.u.c.h.ess of Devons.h.i.+re, of whom Gibbon said that she was 'made for something better than a d.u.c.h.ess'; the two wonderful sisters, Lady Dufferin and Mrs. Norton; Mrs. Tighe, whose Psyche Keats read with pleasure; Constantia Grierson, a marvellous blue-stocking in her time; Mrs. Hemans; pretty, charming 'Perdita,' who flirted alternately with poetry and the Prince Regent, played divinely in the Winter's Tale, was brutally attacked by Gifford, and has left us a pathetic little poem on the Snowdrop; and Emily Bronte, whose poems are instinct with tragic power, and seem often on the verge of being great.

Old fas.h.i.+ons in literature are not so pleasant as old fas.h.i.+ons in dress.

I like the costume of the age of powder better than the poetry of the age of Pope. But if one adopts the historical standpoint--and this is, indeed, the only standpoint from which we can ever form a fair estimate of work that is not absolutely of the highest order--we cannot fail to see that many of the English poetesses who preceded Mrs. Browning were women of no ordinary talent, and that if the majority of them looked upon poetry simply as a department of belles lettres, so in most cases did their contemporaries. Since Mrs. Browning's day our woods have become full of singing birds, and if I venture to ask them to apply themselves more to prose and less to song, it is not that I like poetical prose, but that I love the prose of poets.

LONDON MODELS

(English Ill.u.s.trated Magazine, January 1889.)

Professional models are a purely modern invention. To the Greeks, for instance, they were quite unknown. Mr. Mahaffy, it is true, tells us that Pericles used to present peac.o.c.ks to the great ladies of Athenian society in order to induce them to sit to his friend Phidias, and we know that Polygnotus introduced into his picture of the Trojan women the face of Elpinice, the celebrated sister of the great Conservative leader of the day, but these grandes dames clearly do not come under our category.

As for the old masters, they undoubtedly made constant studies from their pupils and apprentices, and even their religious pictures are full of the portraits of their friends and relations, but they do not seem to have had the inestimable advantage of the existence of a cla.s.s of people whose sole profession is to pose. In fact the model, in our sense of the word, is the direct creation of Academic Schools.

Every country now has its own models, except America. In New York, and even in Boston, a good model is so great a rarity that most of the artists are reduced to painting Niagara and millionaires. In Europe, however, it is different. Here we have plenty of models, and of every nationality. The Italian models are the best. The natural grace of their att.i.tudes, as well as the wonderful picturesqueness of their colouring, makes them facile--often too facile--subjects for the painter's brush. The French models, though not so beautiful as the Italian, possess a quickness of intellectual sympathy, a capacity, in fact, of understanding the artist, which is quite remarkable. They have also a great command over the varieties of facial expression, are peculiarly dramatic, and can chatter the argot of the atelier as cleverly as the critic of the Gil Bias. The English models form a cla.s.s entirely by themselves. They are not so picturesque as the Italian, nor so clever as the French, and they have absolutely no tradition, so to speak, of their order. Now and then some old veteran knocks at a studio door, and proposes to sit as Ajax defying the lightning, or as King Lear upon the blasted heath. One of them some time ago called on a popular painter who, happening at the moment to require his services, engaged him, and told him to begin by kneeling down in the att.i.tude of prayer. 'Shall I be Biblical or Shakespearean, sir?' asked the veteran.

'Well--Shakespearean,' answered the artist, wondering by what subtle nuance of expression the model would convey the difference. 'All right, sir,' said the professor of posing, and he solemnly knelt down and began to wink with his left eye! This cla.s.s, however, is dying out. As a rule the model, nowadays, is a pretty girl, from about twelve to twenty-five years of age, who knows nothing about art, cares less, and is merely anxious to earn seven or eight s.h.i.+llings a day without much trouble.

English models rarely look at a picture, and never venture on any aesthetic theories. In fact, they realise very completely Mr. Whistler's idea of the function of an art critic, for they pa.s.s no criticisms at all. They accept all schools of art with the grand catholicity of the auctioneer, and sit to a fantastic young impressionist as readily as to a learned and laborious academician. They are neither for the Whistlerites nor against them; the quarrel between the school of facts and the school of effects touches them not; idealistic and naturalistic are words that convey no meaning to their ears; they merely desire that the studio shall be warm, and the lunch hot, for all charming artists give their models lunch.

As to what they are asked to do they are equally indifferent. On Monday they will don the rags of a beggar-girl for Mr. Pumper, whose pathetic pictures of modern life draw such tears from the public, and on Tuesday they will pose in a peplum for Mr. Phoebus, who thinks that all really artistic subjects are necessarily B.C. They career gaily through all centuries and through all costumes, and, like actors, are interesting only when they are not themselves. They are extremely good-natured, and very accommodating. 'What do you sit for?' said a young artist to a model who had sent him in her card (all models, by the way, have cards and a small black bag). 'Oh, for anything you like, sir,' said the girl, 'landscape if necessary!'

Intellectually, it must be acknowledged, they are Philistines, but physically they are perfect--at least some are. Though none of them can talk Greek, many can look Greek, which to a nineteenth-century painter is naturally of great importance. If they are allowed, they chatter a great deal, but they never say anything. Their observations are the only ba.n.a.lites heard in Bohemia. However, though they cannot appreciate the artist as artist, they are quite ready to appreciate the artist as a man.

They are very sensitive to kindness, respect and generosity. A beautiful model who had sat for two years to one of our most distinguished English painters, got engaged to a street vendor of penny ices. On her marriage the painter sent her a pretty wedding present, and received in return a nice letter of thanks with the following remarkable postscript: 'Never eat the green ices!'

When they are tired a wise artist gives them a rest. Then they sit in a chair and read penny dreadfuls, till they are roused from the tragedy of literature to take their place again in the tragedy of art. A few of them smoke cigarettes. This, however, is regarded by the other models as showing a want of seriousness, and is not generally approved of. They are engaged by the day and by the half-day. The tariff is a s.h.i.+lling an hour, to which great artists usually add an omnibus fare. The two best things about them are their extraordinary prettiness, and their extreme respectability. As a cla.s.s they are very well behaved, particularly those who sit for the figure, a fact which is curious or natural according to the view one takes of human nature. They usually marry well, and sometimes they marry the artist. For an artist to marry his model is as fatal as for a gourmet to marry his cook: the one gets no sittings, and the other gets no dinners.

On the whole the English female models are very naive, very natural, and very good-humoured. The virtues which the artist values most in them are prettiness and punctuality. Every sensible model consequently keeps a diary of her engagements, and dresses neatly. The bad season is, of course, the summer, when the artists are out of town. However, of late years some artists have engaged their models to follow them, and the wife of one of our most charming painters has often had three or four models under her charge in the country, so that the work of her husband and his friends should not be interrupted. In France the models migrate en ma.s.se to the little seaport villages or forest hamlets where the painters congregate. The English models, however, wait patiently in London, as a rule, till the artists come back. Nearly all of them live with their parents, and help to support the house. They have every qualification for being immortalised in art except that of beautiful hands. The hands of the English model are nearly always coa.r.s.e and red.

As for the male models, there is the veteran whom we have mentioned above. He has all the traditions of the grand style, and is rapidly disappearing with the school he represents. An old man who talks about Fuseli is, of course, unendurable, and, besides, patriarchs have ceased to be fas.h.i.+onable subjects. Then there is the true Academy model. He is usually a man of thirty, rarely good-looking, but a perfect miracle of muscles. In fact he is the apotheosis of anatomy, and is so conscious of his own splendour that he tells you of his tibia and his thorax, as if no one else had anything of the kind. Then come the Oriental models. The supply of these is limited, but there are always about a dozen in London.

They are very much sought after as they can remain immobile for hours, and generally possess lovely costumes. However, they have a very poor opinion of English art, which they regard as something between a vulgar personality and a commonplace photograph. Next we have the Italian youth who has come over specially to be a model, or takes to it when his organ is out of repair. He is often quite charming with his large melancholy eyes, his crisp hair, and his slim brown figure. It is true he eats garlic, but then he can stand like a faun and couch like a leopard, so he is forgiven. He is always full of pretty compliments, and has been known to have kind words of encouragement for even our greatest artists. As for the English lad of the same age, he never sits at all. Apparently he does not regard the career of a model as a serious profession. In any case he is rarely, if ever, to be got hold of. English boys, too, are difficult to find. Sometimes an ex-model who has a son will curl his hair, and wash his face, and bring him the round of the studios, all soap and s.h.i.+niness. The young school don't like him, but the older school do, and when he appears on the walls of the Royal Academy he is called The Infant Samuel. Occasionally also an artist catches a couple of gamins in the gutter and asks them to come to his studio. The first time they always appear, but after that they don't keep their appointments. They dislike sitting still, and have a strong and perhaps natural objection to looking pathetic. Besides, they are always under the impression that the artist is laughing at them. It is a sad fact, but there is no doubt that the poor are completely unconscious of their own picturesqueness. Those of them who can be induced to sit do so with the idea that the artist is merely a benevolent philanthropist who has chosen an eccentric method of distributing alms to the undeserving. Perhaps the School Board will teach the London gamin his own artistic value, and then they will be better models than they are now. One remarkable privilege belongs to the Academy model, that of extorting a sovereign from any newly elected a.s.sociate or R.A. They wait at Burlington House till the announcement is made, and then race to the hapless artist's house. The one who arrives first receives the money. They have of late been much troubled at the long distances they have had to run, and they look with disfavour on the election of artists who live at Hampstead or at Bedford Park, for it is considered a point of honour not to employ the underground railway, omnibuses, or any artificial means of locomotion. The race is to the swift.

Besides the professional posers of the studio there are posers of the Row, the posers at afternoon teas, the posers in politics and the circus posers. All four cla.s.ses are delightful, but only the last cla.s.s is ever really decorative. Acrobats and gymnasts can give the young painter infinite suggestions, for they bring into their art an element of swiftness of motion and of constant change that the studio model necessary lacks. What is interesting in these 'slaves of the ring' is that with them Beauty is an unconscious result not a conscious aim, the result in fact of the mathematical calculation of curves and distances, of absolute precision of eye, of the scientific knowledge of the equilibrium of forces, and of perfect physical training. A good acrobat is always graceful, though grace is never his object; he is graceful because he does what he has to do in the best way in which it can be done--graceful because he is natural. If an ancient Greek were to come to life now, which considering the probable severity of his criticisms would be rather trying to our conceit, he would be found far oftener at the circus than at the theatre. A good circus is an oasis of h.e.l.lenism in a world that reads too much to be wise, and thinks too much to be beautiful. If it were not for the running-ground at Eton, the towing- path at Oxford, the Thames swimming-baths, and the yearly circuses, humanity would forget the plastic perfection of its own form, and degenerate into a race of short-sighted professors and spectacled precieuses. Not that the circus proprietors are, as a rule, conscious of their high mission. Do they not bore us with the haute ecole, and weary us with Shakespearean clowns?--Still, at least, they give us acrobats, and the acrobat is an artist. The mere fact that he never speaks to the audience shows how well he appreciates the great truth that the aim of art is not to reveal personality but to please. The clown may be blatant, but the acrobat is always beautiful. He is an interesting combination of the spirit of Greek sculpture with the spangles of the modern costumier. He has even had his niche in the novels of our age, and if Manette Salomon be the unmasking of the model, Les Freres Zemganno is the apotheosis of the acrobat.

As regards the influence of the ordinary model on our English school of painting, it cannot be said that it is altogether good. It is, of course, an advantage for the young artist sitting in his studio to be able to isolate 'a little corner of life,' as the French say, from disturbing surroundings, and to study it under certain effects of light and shade. But this very isolation leads often to mere mannerism in the painter, and robs him of that broad acceptance of the general facts of life which is the very essence of art. Model-painting, in a word, while it may be the condition of art, is not by any means its aim. It is simply practice, not perfection. Its use trains the eye and the hand of the painter, its abuse produces in his work an effect of mere posing and prettiness. It is the secret of much of the artificiality of modern art, this constant posing of pretty people, and when art becomes artificial it becomes monotonous. Outside the little world of the studio, with its draperies and its bric-a-brac, lies the world of life with its infinite, its Shakespearean variety. We must, however, distinguish between the two kinds of models, those who sit for the figure and those who sit for the costume. The study of the first is always excellent, but the costume- model is becoming rather wearisome in modern pictures. It is really of very little use to dress up a London girl in Greek draperies and to paint her as a G.o.ddess. The robe may be the robe of Athens, but the face is usually the face of Brompton. Now and then, it is true, one comes across a model whose face is an exquisite anachronism, and who looks lovely and natural in the dress of any century but her own. This, however, is rather rare. As a rule models are absolutely de notre siecle, and should be painted as such. Unfortunately they are not, and, as a consequence, we are shown every year a series of scenes from fancy dress b.a.l.l.s which are called historical pictures, but are little more than mediocre representations of modern people masquerading. In France they are wiser.

The French painter uses the model simply for study; for the finished picture he goes direct to life.

However, we must not blame the sitters for the shortcomings of the artists. The English models are a well-behaved and hard-working cla.s.s, and if they are more interested in artists than in art, a large section of the public is in the same condition, and most of our modern exhibitions seem to justify its choice.

LETTER TO JOAQUIN MILLER

Written to Mr. Joaquin Miller in reply to a letter, dated February 9, 1882, in reference to the behaviour of a section of the audience at Wilde's lecture on the English Renaissance at the Grand Opera House, Rochester, New York State, on February 7. It was first published in a volume called Decorative Art in America, containing unauthorised reprints of certain reviews and letters contributed by Wilde to English newspapers. (New York: Brentano's, 1906.)

St. Louis, February 28, 1882.

MY DEAR JOAQUIN MILLER,--I thank you for your chivalrous and courteous letter. Believe me, I would as lief judge of the strength and splendour of sun and sea by the dust that dances in the beam and the bubble that breaks on the wave, as take the petty and profitless vulgarity of one or two insignificant towns as any test or standard of the real spirit of a sane, strong and simple people, or allow it to affect my respect for the many n.o.ble men or women whom it has been my privilege in this great country to know.

For myself and the cause which I represent I have no fears as regards the future. Slander and folly have their way for a season, but for a season only; while, as touching the few provincial newspapers which have so vainly a.s.sailed me, or that ignorant and itinerant libeller of New England who goes lecturing from village to village in such open and ostentatious isolation, be sure I have no time to waste on them. Youth being so glorious, art so G.o.dlike, and the very world about us so full of beautiful things, and things worthy of reverence, and things honourable, how should one stop to listen to the lucubrations of a literary gamin, to the brawling and mouthing of a man whose praise would be as insolent as his slander is impotent, or to the irresponsible and irrepressible chatter of the professionally unproductive?

It is a great advantage, I admit, to have done nothing, but one must not abuse even that advantage.