Sunny Memories Of Foreign Lands Volume I Part 28

May 5. Well, we saw the Dulwich Gallery; five rooms filled with old masters, Murillos, Claudes, Rubens, Salvator Rosas, t.i.tians, Cuyps, Vand.y.k.es, and all the rest of them; probably not the best specimens of any one of them, but good enough to begin with. C. and I took different courses. I said to him, "Now choose nine pictures simply by your eye, and see how far its untaught guidance will bring you within the canons of criticism." When he had gone through all the rooms and marked his pictures, we found he had selected two by Rubens, two by Vand.y.k.e, one by Salvator Rosa, three by Murillo, and one by t.i.tian. Pretty successful that, was it not, for a first essay? We then took the catalogue, and selected all the pictures of each artist one after another, in order to get an idea of the style of each. I had a great curiosity to see Claude Lorraine's, remembering the poetical things that had been said and sung of him. I thought I would see if I could distinguish them by my eye without looking at the catalogue I found I could do so. I knew them by a certain misty quality in the atmosphere. I was disappointed in them, very much. Certainly, they were good paintings; I had nothing to object to them, but I profanely thought I had seen pictures by modern landscape painters as far excelling them as a brilliant morning excels a cool, gray day. Very likely the fault was all in me, but I could not help it; so I tried the Murillos. There was a Virgin and Child, with clouds around them. The virgin was a very pretty girl, such as you may see by the dozen in any boarding school, and the child was a pretty child. Call it the young mother and son, and it is a very pretty picture; but call it Mary and the infant Jesus, and it is an utter failure. Not such was the Jewish princess, the inspired poetess and priestess, the chosen of G.o.d among all women.

It seems to me that painting is poetry expressing itself by lines and colors instead of words; therefore there are two things to be considered in every picture: first, the quality of the idea expressed, and second, the quality of the language in which it is expressed. Now, with regard to the first, I hold that every person of cultivated taste is as good a judge of painting as of poetry. The second, which relates to the mode of expressing the conception, including drawing and coloring, with all their secrets, requires more study, and here our untaught perceptions must sometimes yield to the judgment of artists. My first question, then, when I look at the work of an artist, is, What sort of a mind has this man? What has he to say? And then I consider, How does he say it?

Now, with regard to Murillo, it appeared to me that he was a man of rather a mediocre mind, with nothing very high or deep to say, but that he was gifted with an exquisite faculty of expressing what he did say; and his paintings seem to me to bear an a.n.a.logy to Pope's poetry, wherein the power of expression is wrought to the highest point, but without freshness or ideality in the conception. As Pope could reproduce in most exquisite wording the fervent ideas of Eloisa, without the power to originate such, so Murillo reproduced the current and floating religious ideas of his times, with most exquisite perfection of art and color, but without ideality or vitality. The pictures of his which please me most are his beggar boys and flower girls, where he abandons the region of ideality, and simply reproduces nature. His art and coloring give an exquisite grace to such sketches.

As to Vand.y.k.e, though evidently a fine painter, he is one whose mind does not move me. He adds nothing to my stock of thoughts--awakens no emotion. I know it is a fine picture, just as I have sometimes been conscious in church that I was hearing a fine sermon, which somehow had not the slightest effect upon me.

Rubens, on the contrary, whose pictures I detested with all the energy of my soul, I knew and felt all the time, by the very pain he gave me, to be a real living artist. There was a Venus and Cupid there, as fat and as coa.r.s.e as they could be, but so freely drawn, and so masterly in their expression and handling, that one must feel that they were by an artist, who could just as easily have painted them any other way if it had suited his sovereign pleasure, and therefore we are the more vexed with him. When your taste is crossed by a clever person, it always vexes you more than when it is done by a stupid one, because it is done with such power that there is less hope for you.

There were a number of pictures of Cuyp there, which satisfied my thirst for coloring, and appeared to me as I expected the Claudes would have done. Generally speaking, his objects are few in number and commonplace in their character--a bit of land and water, a few cattle and figures, in no way remarkable; but then he floods the whole with that dreamy, misty sunlight, such as fills the arches of our forests in the days of autumn. As I looked at them I fancied I could hear nuts dropping from the trees among the dry leaves, and see the goldenrods and purple asters, and hear the click of the squirrel as he whips up the tree to his nest. For this one attribute of golden, dreamy haziness, I like Cuyp. His power in shedding it over very simple objects reminds me of some of the short poems of Longfellow, when things in themselves most prosaic are flooded with a kind of poetic light from the inner soul.

These are merely first ideas and impressions. Of course I do not make up my mind about any artist from what I have seen here. We must not expect a painter to put his talent into every picture, more than a poet into every verse that he writes. Like other men, he is sometimes brilliant and inspired, and at others dull and heavy. In general, however, I have this to say, that there is some kind of fascination about these old masters which I feel very sensibly. But yet, I am sorry to add that there is very little of what I consider the highest mission of art in the specimens I have thus far seen; nothing which speaks to the deepest and the highest; which would inspire a generous ardor, or a solemn religious trust. Vainly I seek for something divine, and ask of art to bring me nearer to the source of all beauty and perfection. I find wealth of coloring, freedom of design, and capability of expression wasting themselves merely in portraying trivial sensualities and commonplace ideas. So much for the first essay.

In the evening we went to dine with our old friends of the Dingle, Mr.

and Mrs. Edward Cropper, who are now spending a little time in London.

We were delighted to meet them once more, and to hear from our Liverpool friends. Mrs. Cropper's father, Lord Denman, has returned to England, though with no sensible improvement in his health.

At dinner we were introduced to Lord and Lady Hatherton. Lord Hatherton is a member of the whig party, and has been chief secretary for Ireland.

Lady Hatherton is a person of great cultivation and intelligence, warmly interested in all the progressive movements of the day; and I gained much information in her society. There were also present Sir Charles and Lady Trevelyan; the former holds some appointment in the navy. Lady Trevelyan is a sister of Macaulay.

In the evening quite a circle came in; among others, Lady Emma Campbell, sister of the Duke of Argyle; the daughters of the Archbishop of Canterbury, who very kindly invited me to visit them, at Lambeth; and Mr. Arthur Helps, besides many others whose names I need not mention.

People here continually apologize for the weather, which, to say the least, has been rather ungracious since we have been here; as if one ever expected to find any thing but smoke, and darkness, and fog in London. The authentic air with which they lament the existence of these things _at present_ would almost persuade one that _in general_ London was a very clear, bright place. I, however, a.s.sured them that, having heard from my childhood of the smoke of London, its dimness and darkness, I found things much better than I had expected.

They talk here of spirit rappings and table turnings, I find, as in America. Many rumors are afloat which seem to have no other effect than merely to enliven the chitchat of an evening circle. I pa.s.sed a very pleasant evening, and left about ten o'clock. The gentleman who was handing me down stairs said, "I suppose you are going to one or two other places to-night." The idea struck me as so preposterous that I could not help an exclamation of surprise.

May 6. A good many calls this morning. Among others came Miss Greenfield, the (so called) Black Swan. She appears to be a gentle, amiable, and interesting young person. She was born the slave of a kind mistress, who gave her every thing but education, and, dying, left her free with a little property. The property she lost by some legal quibble, but had, like others of her race, a pa.s.sion for music, and could sing and play by ear. A young lady, discovering her taste, gave her a few lessons. She has a most astonis.h.i.+ng voice. C. sat down to the piano and played, while she sung. Her voice runs through a compa.s.s of three octaves and a fourth. This is four notes more than Malibran's. She sings a most magnificent tenor, with such a breadth and volume of sound that, with your back turned, you could not imagine it to be a woman.

While she was there, Mrs. S.C. Hall, of the Irish Sketches, was announced. She is a tall, well-proportioned woman, with a fine color, dark-brown hair, and a cheerful, cordial manner. She brought with her her only daughter, a young girl about fifteen. I told her of Miss Greenfield, and, she took great interest in her, and requested her to sing something for her. C. played the accompaniment, and she sung Old Folks at Home, first in a soprano voice, and then in a tenor or baritone. Mrs. Hall was amazed and delighted, and entered at once into her cause. She said that she would call with me and present her to Sir George Smart, who is at the head of the queen's musical establishment, and, of course, the acknowledged leader of London musical judgment.

Mrs. Hall very kindly told me that she had called to invite me to seek a retreat with her in her charming little country house near London. I do not mean that _she_ called it a charming little retreat, but that every one who speaks of it gives it that character. She told me that I should there have positive and perfect quiet; and what could attract me more than that? She said, moreover, that there they had a great many nightingales. Ah, this "bower of roses by Bendemeer's stream," could I only go there! but I am tied to London by a hundred engagements. I cannot do it. Nevertheless, I have promised that I will go and spend some time yet, when Mr. S. leaves London.

In the course of the day I had a note from Mrs. Hall, saying that, as Sir George Smart was about leaving town, she had not waited for me, but had taken Miss Greenfield to him herself. She writes that he was really astonished and charmed at the wonderful weight, compa.s.s, and power of her voice. He was also as well pleased with the mind in her singing, and her quickness in doing and catching all that he told her. Should she have a public opportunity to perform, he offered to hear her rehea.r.s.e beforehand. Mrs. Hall says this is a great deal for him, whose hours are all marked with gold.

In the evening the house was opened in a general way for callers, who were coming and going all the evening. I think there must have been over two hundred people--among them Martin Farquhar Tupper, a little man, with fresh, rosy complexion, and cheery, joyous manners; and Mary Howitt, just such a cheerful, sensible, fireside companion as we find her in her books,--winning love and trust the very first few moments of the interview. The general topic of remark on meeting me seems to be, that I am not so bad looking as they were afraid I was; and I do a.s.sure you that, when I have seen the things that are put up in the shop windows here with my name under them, I have been in wondering admiration at the boundless loving-kindness of my English and Scottish friends, in keeping up such a warm heart for such a Gorgon. I should think that the Sphinx in the London Museum might have sat for most of them. I am going to make a collection of these portraits to bring home to you. There is a great variety of them, and they will be useful, like the Irishman's guideboard, which showed where the road did not go.

Before the evening was through I was talked out and worn out--there was hardly a chip of me left. To-morrow at eleven o'clock comes the meeting at Stafford House. What it will amount to I do not know; but I take no thought for the morrow.

LETTER XVI.

MAY 8.

MY DEAR C.:--

In fulfilment of my agreement, I will tell you, as nearly as I can remember, all the details of the meeting at Stafford House.

At about eleven o'clock we drove under the arched carriage way of a mansion, externally, not very showy in appearance. It stands on the borders of St. James's Park, opposite to Buckingham Palace, with a street on the north side, and beautiful gardens on the south, while the park is extended on the west.

We were received at the door by two stately Highlanders in full costume; and what seemed to me an innumerable mult.i.tude of servants in livery, with powdered hair, repeated our names through the long corridors, from one to another.

I have only a confused idea of pa.s.sing from pa.s.sage to pa.s.sage, and from hall to hall, till finally we were introduced into a large drawing room.

No person was present, and I was at full leisure to survey an apartment whose arrangements more perfectly suited my eye and taste than any I had ever seen before. There was not any particular splendor of furniture, or dazzling display of upholstery, but an artistic, poetic air, resulting from the arrangement of colors, and the disposition of the works of _virtu_ with which the room abounded. The great fault in many splendid rooms, is, that they are arranged without any eye to unity of impression. The things in them may be all fine in their way, but there is no harmony of result.

People do not often consider that there may be a general sentiment to be expressed in the arrangement of a room, as well as in the composition of a picture. It is this leading idea which corresponds to what painters call the ground tone, or harmonizing tint, of a picture. The presence of this often renders a very simple room extremely fascinating, and the absence of it makes the most splendid combinations of furniture powerless to please.

The walls were covered with green damask, laid on flat, and confined in its place by narrow gilt bands, which bordered it around the margin. The chairs, ottomans, and sofas were of white woodwork, varnished and gilded, covered with the same.

The carpet was of a green ground, bedropped with a small yellow leaf; and in each window a circular, standing basket contained a whole bank of primroses, growing as if in their native soil, their pale yellow blossoms and green leaves harmonizing admirably with the general tone of coloring.

Through the fall of the lace curtains I could see out into the beautiful grounds, whose clumps of blossoming white lilacs, and velvet gra.s.s, seemed so in harmony with the green interior of the room, that one would think they had been arranged as a continuation of the idea.

One of the first individual objects which attracted my attention was, over the mantel-piece, a large, splendid picture by Landseer, which I have often seen engraved. It represents the two eldest children of the d.u.c.h.ess of Sutherland, the Marquis of Stafford, and Lady Blantyre, at that time Lady Levison Gower, in their childhood. She is represented as feeding a fawn; a little poodle dog is holding up a rose to her; and her brother is lying on the ground, playing with an old staghound.

I had been familiar with Landseer's engravings, but this was the first of his paintings I had ever seen, and I was struck with the rich and harmonious quality of the coloring. There was also a full-length marble statue of the Marquis of Stafford, taken, I should think, at about seventeen years of age, in full Highland costume.

When the d.u.c.h.ess appeared, I thought she looked handsomer by daylight than in the evening. She was dressed in white muslin, with a drab velvet basque slashed with satin of the same color. Her hair was confined by a gold and diamond net on the back part of her head.

She received us with the same warm and simple kindness which she had shown before. We were presented to the Duke of Sutherland. He is a tall, slender man, with rather a thin face, light brown hair, and a mild blue eye, with an air of gentleness and dignity. The delicacy of his health prevents him from moving in general society, or entering into public life. He spends much of his time in reading, and devising and executing schemes of practical benevolence for the welfare of his numerous dependants.

I sought a little private conversation with the d.u.c.h.ess in her boudoir, in which I frankly confessed a little anxiety respecting the arrangements of the day: having lived all my life in such a shady and sequestered way, and being entirely ignorant of life as it exists in the sphere in which she moves, such apprehensions were rather natural.

She begged that I would make myself entirely easy, and consider myself as among my own friends; that she had invited a few friends to lunch, and that afterwards others would call; that there would be a short address from the ladies of England read by Lord Shaftesbury, which would require no answer.

I could not but be grateful for the consideration thus evinced. The matter being thus adjusted, we came back to the drawing room, when the party began to a.s.semble.

The only difference, I may say, by the by, in the gathering of such a company and one with us, is in the announcing of names at the door; a, custom which I think a good one, saving a vast deal of the breath we always expend in company, by asking "Who is that? and that?" Then, too, people can fall into conversation without a formal presentation, the presumption being that n.o.body is invited with whom, it is not proper that you should converse. The functionary who performed the announcing was a fine, stalwart man, in full Highland costume, the duke being the head of a Highland clan.

Among the first that entered were the members of the family, the Duke and d.u.c.h.ess of Argyle, Lord and Lady Blantyre, the Marquis and Marchioness of Stafford, and Lady Emma Campbell. Then followed Lord Shaftesbury with his beautiful lady, and her father and mother, Lord and Lady Palmerston. Lord Palmerston is of middle height, with a keen, dark eye, and black hair streaked with gray. There is something peculiarly alert and vivacious about all his movements; in short his appearance perfectly answers to what we know of him from his public life. One has a strange mythological feeling about the existence of people of whom one hears for many years without ever seeing them. While talking with Lord Palmerston I could but remember how often I had heard father and Mr. S.

exulting over his foreign despatches by our home fireside.

The Marquis of Lansdowne now entered. He is about the middle height, with gray hair, blue eyes, and a mild, quiet dignity of manner. He is one of those who, as Lord Henry Pettes, took a distinguished part with Clarkson and Wilberforce in the abolition of the slave trade. He has always been a most munificent patron of literature and art.

There were present, also, Lord John Russell, Mr. Gladstone, and Lord Grenville. The latter we all thought very strikingly resembled in his appearance the poet Longfellow. My making the remark introduced the subject of his poetry. The d.u.c.h.ess of Argyle appealed to her two little boys, who stood each side of her, if they remembered her reading Evangeline to them. It is a gratification to me that I find by every English fireside traces of one of our American poets. These two little boys of the d.u.c.h.ess of Argyle, and the youngest son of the d.u.c.h.ess of Sutherland, were beautiful fair-haired children, picturesquely attired in the Highland costume. There were some other charming children of the family circle present. The eldest son of the Duke of Argyle bears the t.i.tle of the Lord of Lorn, which Scott has rendered so poetical a sound to our ears.

When lunch was announced, the Duke of Sutherland gave me his arm, and led me through a suite of rooms into the dining hall. Each room that we pa.s.sed was rich in its pictures, statues, and artistic arrangements; a poetic eye and taste had evidently presided over all. The table was beautifully laid, ornamented by two magnificent _epergnes_, crystal vases supported by wrought silver standards, filled with the most brilliant hothouse flowers; on the edges of the vases and nestling among the flowers were silver doves of the size of life. The walls of the room were hung with gorgeous pictures, and directly opposite to me was a portrait of the d.u.c.h.ess of Sutherland, by Sir Thomas Lawrence, which has figured largely in our souvenirs and books of beauty. She is represented with a little child in her arms; this child, now Lady Blantyre, was sitting opposite to me at table, with a charming little girl of her own, of about the same apparent age. When one sees such things, one almost fancies this to be a fairy palace, where the cold demons of age and time have lost their power.

I was seated next to Lord Lansdowne, who conversed much with me about affairs in America. It seems to me that the great men of the old world regard our country thoughtfully. It is a new development of society, acting every day with greater and greater power on the old world; nor is it yet clearly seen what its final results will be. His observations indicated a calm, clear, thoughtful mind--an accurate observer of life and history.

Meanwhile the servants moved noiselessly to and fro, taking up the various articles on the table, and offering them to the guests in a peculiarly quiet manner. One of the dishes brought to me was a plover's nest, precisely as the plover made it, with five little blue speckled eggs in it. This mode of serving plover's eggs, as I understand it, is one of the fas.h.i.+ons of-the day, and has something quite sylvan and picturesque about it; but it looked so, for all the world, like a robin's nest that I used to watch out in our home orchard, that I had it not in my heart to profane the sanct.i.ty of the image by eating one of the eggs.

The _cuisine_ of these West End regions appears to be entirely under French legislation, conducted by Parisian artists, skilled in all subtle and metaphysical combinations of ethereal possibilities, quite inscrutable to the eye of sense. Her grace's _chef_, I have heard it said elsewhere, bears the reputation of being the first artist of his cla.s.s in England. The profession as thus sublimated bears the same proportion to the old substantial English cookery that Mozart's music does to Handel's, or Midsummer Night's Dream to Paradise Lost.

This meal, called _lunch_, is with the English quite an inst.i.tution, being apparently a less elaborate and ceremonious dinner. Every thing is placed upon the table at once, and ladies sit down without removing their bonnets; it is, I imagine, the most social and family meal of the day; one in which children are admitted to the table, even in the presence of company. It generally takes place in the middle of the day, and the dinner, which comes after it, at eight or nine in the evening, is in comparison only a ceremonial proceeding.

I could not help thinking, as I looked around on so many men whom I had heard of historically all my life, how very much less they bear the marks of age than men who have been connected a similar length of time with the movements of our country. This appearance of youthfulness and alertness has a constantly deceptive influence upon one in England. I cannot realize that people are as old as history states them to be. In the present company there were men of sixty or seventy, whom I should have p.r.o.nounced at the first glance to be fifty.