Lectures on Architecture and Painting Part 5

91. It was in such a state of society that the landscape of Claude, Gaspar Poussin, and Salvator Rosa attained its reputation. It is the complete expression on canvas of the spirit of the time. Claude embodies the foolish pastoralism, Salvator the ignorant terror, and Gaspar the dull and affected erudition.

It was, however, altogether impossible that this state of things could long continue. The age which had buried itself in formalism grew weary at last of the restraint; and the approach of a new era was marked by the appearance, and the enthusiastic reception, of writers who took true delight in those wild scenes of nature which had so long been despised.

92. I think the first two writers in whom the symptoms of a change are strongly manifested are Mrs. Radcliffe and Rousseau; in both of whom the love of natural scenery, though mingled in the one case with what was merely dramatic, and in the other with much that was pitifully morbid or vicious, was still itself genuine, and intense, differing altogether in character from any sentiments previously traceable in literature. And then rapidly followed a group of writers, who expressed, in various ways, the more powerful or more pure feeling which had now become one of the strongest instincts of the age. Of these, the princ.i.p.al is your own Walter Scott. Many writers, indeed, describe nature more minutely and more profoundly; but none show in higher intensity the peculiar pa.s.sion for what is majestic or lovely in _wild_ nature, to which I am now referring. The whole of the poem of the "Lady of the Lake" is written with almost a boyish enthusiasm for rocks, and lakes, and cataracts; the early novels show the same instinct in equal strength wherever he approaches Highland scenery; and the feeling is mingled, observe, with a most touching and affectionate appreciation of the Gothic architecture, in which alone he found the elements of natural beauty seized by art; so that, to this day, his descriptions of Melrose and Holy Island Cathedral, in the "Lay of the Last Minstrel" and "Marmion," as well as of the ideal abbeys in the "Monastery" and "Antiquary," together with those of Caerlaverock and Lochleven Castles in "Guy Mannering" and "The Abbot," remain the staple possessions and text-books of all travelers, not so much for their beauty or accuracy, as for their _exactly expressing that degree of feeling with which most men in this century can sympathize_.

Together with Scott appeared the group of poets--Byron, Wordsworth, Keats, Sh.e.l.ley, and, finally, Tennyson--differing widely in moral principles and spiritual temper, but all agreeing more or less in this love for natural scenery.

93. Now, you will ask me--and you will ask me most reasonably--how this love of nature in modern days can be connected with Christianity, seeing it is as strong in the infidel Sh.e.l.ley as in the sacred Wordsworth. Yes, and it is found in far worse men than Sh.e.l.ley. Sh.e.l.ley was an honest unbeliever, and a man of warm affections; but this new love of nature is found in the most reckless and unprincipled of the French novelists--in Eugene Sue, in Dumas, in George Sand--and that intensely. How is this?

Simply because the feeling is reactionary; and, in this phase of it, common to the diseased mind as well as to the healthy one. A man dying in the fever of intemperance will cry out for water, and that with a bitterer thirst than a man whose healthy frame naturally delights in the mountain spring more than in the wine cup. The water is not dishonored by that thirst of the diseased, nor is nature dishonored by the love of the unworthy. That love is, perhaps, the only saving element in their minds; and it still remains an indisputable truth that the love of nature is a characteristic of the Christian heart, just as the hunger for healthy food is characteristic of the healthy frame.

In order to meet this new feeling for nature, there necessarily arose a new school of landscape painting. That school, like the literature to which it corresponded, had many weak and vicious elements mixed with its n.o.ble ones; it had its Mrs. Radcliffes and Rousseaus, as well as its Wordsworths; but, on the whole, the feeling with which Robson drew mountains, and Prout architecture, with which Fielding draws moors, and Stanfield sea--is altogether pure, true, and precious, as compared with that which suggested the landscape of the seventeenth century.

94. Now observe, how simple the whole subject becomes. You have, first, your great ancient landscape divided into its three periods--Giottesque, Leonardesque, t.i.tianesque. Then you have a great gap, full of nonent.i.ties and abortions; a gulf of foolishness, into the bottom of which you may throw Claude and Salvator, neither of them deserving to give a name to anything. Call it "pastoral" landscape, "guarda e pa.s.sa,"

and then you have, lastly, the pure, wholesome, simple, modern landscape. You want a name for that: I will give you one in a moment; for the whole character and power of that landscape is originally based on the work of one man.

95. Joseph Mallord William Turner was born in Maiden Lane, London, about eighty years ago. The register of his birth was burned, and his age at his death could only be arrived at by conjecture. He was the son of a barber; and his father intended him, very properly, for his own profession. The bent of the boy was, however, soon manifested, as is always the case in children of extraordinary genius, too strongly to be resisted; and a sketch of a coat of arms on a silver salver, made while his father was shaving a customer, obtained for him, in reluctant compliance with the admiring customer's advice, the permission to follow art as a profession.

He had, of course, the usual difficulties of young artists to encounter, and they were then far greater than they are now. But Turner differed from most men in this,--that he was always willing to take anything to do that came in his way. He did not shut himself up in a garret to produce unsalable works of "high art," and starve, or lose his senses.

He hired himself out every evening to wash in skies in Indian ink, on other people's drawings, as many as he could, at half-a-crown a-night, getting his supper into the bargain. "What could I have done better?" he said afterwards: "it was first-rate practice." Then he took to ill.u.s.trating guide-books and almanacs, and anything that wanted cheap frontispieces. The Oxford Almanack, published on a single sheet, with a copper-plate at the top of it, consisting of a "View"--you perhaps, some of you, know the kind of print characteristic of the last century, under which the word "View" is always printed in large letters, with a dedication, obsequious to the very dust, to the Grand Signior of the neighborhood. Well, this Almanack had always such a view of some Oxford College at the top of it, dedicated, I think, always to the head of the College; and it owed this, its princ.i.p.al decoration, to Turner for many years. I have myself two careful drawings of some old seals, made by him for a local book on the antiquities of Whalley Abbey. And there was hardly a gentleman's seat of any importance in England, towards the close of the last century, of which you will not find some rude engraving in the local publications of the time, inscribed with the simple name "W. Turner."

96. There was another great difference between Turner and other men. In doing these drawings for the commonest publications of the day, and for a remuneration altogether contemptible, he never did his work badly because he thought it beneath him, or because he was ill-paid. There does not exist such a thing as a slovenly drawing by Turner. With what people were willing to give him for his work he was content; but he considered that work in its relation to himself, not in its relation to the purchaser. He took a poor price, that he might _live_; but he made n.o.ble drawings, that he might _learn_. Of course some are slighter than others, and they vary in their materials; those executed with pencil and Indian ink being never finished to the degree of those which are executed in color. But he is _never_ careless. According to the time and means at his disposal, he always did his best. He never let a drawing leave his hands without having made a step in advance, and having done better in it than he had ever done before; and there is no important drawing of the period which is not executed with a _total_ disregard of time and price, and which was not, even then, worth four or five times what Turner received for it.

Even without genius, a man who thus felt and thus labored was sure to do great things; though it is seldom that, without great genius, men either thus feel or thus labor. Turner was as far beyond all other men in intellect as in industry; and his advance in power and grasp of thought was as steady as the increasing light of sunrise.

97. His reputation was soon so far established that he was able to devote himself to more consistent study. He never appears literally to have _copied_ any picture; but whenever any master interested him, or was of so established a reputation that he thought it necessary to study him, he painted pictures of his own subjects in the style of that master, until he felt himself able to rival his excellencies, whatever they were. There are thus mult.i.tudes of pictures by Turner which are direct imitations of other masters; especially of Claude, Wilson, Loutherbourg, Gaspar Poussin, Vandevelde, Cuyp, and Rembrandt. It has been argued by Mr. Leslie that, because Turner thus in his early years imitated many of the old masters, therefore he must to the end of his life have considered them greater than himself. The _non sequitur_ is obvious. I trust there are few men so unhappy as never to have learned anything from their inferiors; and I fear there are few men so wise as never to have imitated anything but what was deserving of imitation. The young Turner, indeed, would have been more than mortal if, in a period utterly devoid of all healthy examples of landscape art, he had been able at once to see his way to the attainment of his ultimate ends; or if, seeing it, he had felt himself at once strong enough to defy the authority of every painter and connoisseur whose style had formed the taste of the public, or whose dicta directed their patronage.

98. But the period when he both felt and resolved to a.s.sert his own superiority was indicated with perfect clearness, by his publis.h.i.+ng a series of engravings, which were nothing else than direct challenges to Claude--then the landscape painter supposed to be the greatest in the world--upon his own ground and his own terms. You are probably all aware that the studies made by Claude for his pictures, and kept by him under the name of the "Liber Veritatis," were for the most part made with pen and ink, washed over with a brown tint; and that these drawings have been carefully facsimiled and published in the form of mezzotint engravings, long supposed to be models of taste in landscape composition. In order to provoke comparison between Claude and himself, Turner published a series of engravings, called the "Liber Studiorum,"

executed in exactly the same manner as these drawings of Claude,--an etching representing what was done with the pen, while mezzotint stood for color. You see the notable publicity of this challenge. Had he confined himself to _pictures_ in his trial of skill with Claude, it would only have been in the gallery or the palace that the comparison could have been inst.i.tuted; but now it is in the power of all who are interested in the matter to make it at their ease.[32]

[Footnote 32: When this lecture was delivered, an enlarged copy of a portion of one of these studies by Claude was set beside a similarly magnified portion of one by Turner. It was impossible, without much increasing the cost of the publication, to prepare two mezzotint engravings with the care requisite for this purpose; and the portion of the Lecture relating to these examples is therefore omitted. It is, however, in the power of every reader to procure one or more plates of each series; and to judge for himself whether the conclusion of Turner's superiority, which is a.s.sumed in the next sentence of the text, be a just one or not.]

99. Now, what Turner did in contest with Claude, he did with every other then-known master of landscape, each in his turn. He challenged, and vanquished, each in his own peculiar field, Vandevelde on the sea, Salvator among rocks, and Cuyp on Lowland rivers; and, having done this, set himself to paint the natural scenery of skies, mountains, and lakes, which, until his time, had never been so much as attempted.

He thus, in the extent of his sphere, far surpa.s.sed even t.i.tian and Leonardo, the great men of the earlier schools. In their foreground work neither t.i.tian nor Leonardo _could_ be excelled; but t.i.tian and Leonardo were throughly conventional in all _but_ their foregrounds. Turner was equally great in all the elements of landscape, and it is on him, and on his daring additions to the received schemes of landscape art, that all modern landscape has been founded. You will never meet any truly great living landscape painter who will not at once frankly confess his obligations to Turner, not, observe, as having copied him, but as having been led by Turner to look in nature for what he would otherwise either not have discerned, or discerning, not have dared to represent.

100. Turner, therefore, was the first man who presented us with the _type_ of perfect landscape art: and the richness of that art, with which you are at present surrounded, and which enables you to open your walls as it were into so many windows, through which you can see whatever has charmed you in the fairest scenery of your country, you will do well to remember as _Turneresque_.

So then you have these five periods to recollect--you will have no difficulty, I trust, in doing so,--the periods of Giotto, Leonardo, t.i.tian, pastoralism, and Turner.

101. But Turner's work is yet only begun. His greatness is, as yet, altogether denied by many; and to the full, felt by very few. But every day that he lies in his grave will bring some new acknowledgment of his power; and through those eyes, now filled with dust, generations yet unborn will learn to behold the light of nature.

You have some ground to-night to accuse me of dogmatism. I can bring no proof before you of what I so boldly a.s.sert. But I would not have accepted your invitation to address you, unless I had felt that I had a right to be, in this matter, dogmatic. I did not come here to tell you of my beliefs or my conjectures; I came to tell you the truth which I have given fifteen years of my life to ascertain, that this man, this Turner, of whom you have known so little while he was living among you, will one day take his place beside Shakespeare and Verulam, in the annals of the light of England.

Yes: beside Shakespeare and Verulam, a third star in that central constellation, round which, in the astronomy of intellect, all other stars make their circuit. By Shakespeare, humanity was unsealed to you; by Verulam the _principles_ of nature; and by Turner, her _aspect_. All these were sent to unlock one of the gates of light, and to unlock it for the first time. But of all the three, though not the greatest, Turner was the most unprecedented in his work. Bacon did what Aristotle had attempted; Shakespeare did perfectly what aeschylus did partially; but none before Turner had lifted the veil from the face of nature; the majesty of the hills and forests had received no interpretation, and the clouds pa.s.sed unrecorded from the face of the heaven which they adorned, and of the earth to which they ministered.

102. And now let me tell you something of his personal character. You have heard him spoken of as ill-natured, and jealous of his brother artists. I will tell you how jealous he was. I knew him for ten years, and during that time had much familiar intercourse with him. I _never once_ heard him say an unkind thing of a brother artist, and _I never once heard him find a fault_ with another man's work. I could say this of _no other_ artist whom I have ever known.

But I will add a piece of evidence on this matter of peculiar force.

Probably many here have read a book which has been lately published, to my mind one of extreme interest and value, the life of the unhappy artist, Benjamin Haydon. Whatever may have been his faults, I believe no person can read his journal without coming to the conclusion that his heart was honest, and that he does not _willfully_ misrepresent any fact, or any person. Even supposing otherwise, the expression I am going to quote to you would have all the more force, because, as you know, Haydon pa.s.sed his whole life in war with the Royal Academy, of which Turner was one of the most influential members. Yet in the midst of one of his most violent expressions of exultation at one of his victories over the Academy, he draws back suddenly with these words:--"But Turner behaved well, and did me justice."

103. I will give you however besides, two plain facts ill.u.s.trative of Turner's "jealousy."

You have, perhaps not many of you, heard of a painter of the name of Bird: I do not myself know his works, but Turner saw some merit in them: and when Bird first sent a picture to the Academy, for exhibition, Turner was on the hanging committee. Bird's picture had great merit; but no place for it could be found. Turner pleaded hard for it. No, the thing was impossible. Turner sat down and looked at Bird's picture a long time; then insisted that a place must be found for it. He was still met by the a.s.sertion of impracticability. He said no more, but took down one of his own pictures, sent it out of the Academy, and hung Bird's in its place.

Match that, if you can, among the annals of hanging committees. But he could do n.o.bler things than this.

104. When Turner's picture of Cologne was exhibited in the year 1826, it was hung between two portraits, by Sir Thomas Lawrence, of Lady Wallscourt and Lady Robert Manners.

The sky of Turner's picture was exceedingly bright, and it had a most injurious effect on the color of the two portraits. Lawrence naturally felt mortified, and complained openly of the position of his pictures.

You are aware that artists were at that time permitted to retouch their pictures on the walls of the Academy. On the morning of the opening of the exhibition, at the private view, a friend of Turner's who had seen the Cologne in all its splendor, led a group of expectant critics up to the picture. He started back from it in consternation. The golden sky had changed to a dun color. He ran up to Turner, who was in another part of the room. "Turner, _what_ have you been doing to your picture?" "Oh,"

muttered Turner, in a low voice, "poor Lawrence was so unhappy. It's only lamp-black. It'll all wash off after the exhibition!" He had actually pa.s.sed a wash of lamp-black in water-color over the whole sky, and utterly spoiled his picture for the time, and so left it through the exhibition, lest it should hurt Lawrence's.

You may easily find instances of self-sacrifice where men have strong motives, and where large benefits are to be conferred by the effort, or general admiration obtained by it; but of pure, unselfish, and perfect generosity, showing itself in a matter of minor interest, and when few could be aware of the sacrifice made, you will not easily find such another example as this.

105. Thus much for his jealousy of his brother-artists. You have also heard much of his n.i.g.g.ardliness in money transactions. A great part of what you have heard is perfectly true, allowing for the exaggeration which always takes place in the accounts of an eccentric character. But there are other parts of Turner's conduct of which you have never heard; and which, if truly reported, would set his n.i.g.g.ardliness in a very different light. Every person from whom Turner exacted a due s.h.i.+lling, proclaimed the exaction far and wide; but the persons to whom Turner gave hundreds of pounds were prevented, by their "delicacy," from reporting the kindness of their benefactor. I may, however, perhaps, be permitted to acquaint you with one circ.u.mstance of this nature, creditable alike to both parties concerned.

At the death of a poor drawing master, Mr. Wells,[33] whom Turner had long known, he was deeply affected, and lent money to the widow until a large sum had acc.u.mulated. She was both honest and grateful, and after a long period was happy enough to be able to return to her benefactor the whole sum she had received from him. She waited on him with it; but Turner kept his hands in his pockets. "Keep it," he said, "and send your children to school, and to church." He said this in bitterness; he had himself been sent to neither.

[Footnote 33: Not the Mr. Wells who taught drawing at Addis...o...b... It appears that Turner knew two persons of the same name, and in the same profession. I am not permitted to name my authority for the anecdote; various egotistic "delicacies," even in this case, preventing useful truth from being clearly a.s.sured to the public.]

106. "Well, but," you will answer to me, "we have heard Turner all our lives stigmatized as brutal, and uncharitable, and selfish, and miserly.

How are we to understand these opposing statements?"

Easily. I have told you truly what Turner was. You have often heard what to most people he appeared to be. Imagine what it was for a man to live seventy years in this hard world, with the kindest heart, and the n.o.blest intellect of his time, and never to meet with a single word or ray of sympathy, until he felt himself sinking into the grave. From the time he knew his true greatness all the world was turned against him: he held his own; but it could not be without roughness of bearing, and hardening of the temper, if not of the heart. No one understood him, no one trusted him, and every one cried out against him. Imagine, any of you, the effect upon your own minds, if every voice that you heard from the human beings around you were raised, year after year, through all your lives, only in condemnation of your efforts, and denial of your success. This may be borne, and borne easily, by men who have fixed religious principles, or supporting domestic ties. But Turner had no one to teach him in his youth, and no one to love him in his old age.

Respect and affection, if they came at all, came unbelieved, or came too late. Naturally irritable, though kind--naturally suspicious, though generous--the gold gradually became dim, and the most fine gold changed, or, if not changed, overcast and clouded. The deep heart was still beating, but it was beneath a dark and melancholy mail, between whose joints, however, sometimes the slightest arrows found entrance, and power of giving pain. He received no consolation in his last years, nor in his death. Cut off in great part from all society--first, by labor, and at last by sickness--hunted to his grave by the malignities of small critics, and the jealousies of hopeless rivalry, he died in the house of a stranger--one companion of his life, and one only, staying with him to the last. The window of his death-chamber was turned towards the west, and the _sun_ shone upon his face in its setting, and rested there, as he expired.

LECTURE IV.

PRE-RAPHAELITISM.

_Delivered November 18, 1853._

107. The subject on which I would desire to engage your attention this evening, is the nature and probable result of a certain schism which took place a few years ago among our British artists.

This schism, or rather the heresy which led to it, as you are probably aware, was introduced by a small number of very young men; and consists mainly in the a.s.sertion that the principles on which art has been taught for these three hundred years back are essentially wrong, and that the principles which ought to guide us are those which prevailed before the time of Raphael; in adopting which, therefore, as their guides, these young men, as a sort of bond of unity among themselves, took the unfortunate and somewhat ludicrous name of "Pre-Raphaelite Brethren."

108. You must also be aware that this heresy has been opposed with all the influence and all the bitterness of art and criticism; but that in spite of these the heresy has gained ground, and the pictures painted on these new principles have obtained a most extensive popularity. These circ.u.mstances are sufficiently singular, but their importance is greater even than their singularity; and your time will certainly not be wasted in devoting an hour to an inquiry into the true nature of this movement.

I shall first, therefore, endeavor to state to you what the real difference is between the principles of art before and after Raphael's time, and then to ascertain, with you, how far these young men truly have understood the difference, and what may be hoped or feared from the effort they are making.

109. First, then, What is the real difference between the principles on which art has been pursued before and since Raphael? You must be aware, that the princ.i.p.al ground on which the Pre-Raphaelites have been attacked, is the charge that they wish to bring us back to a time of darkness and ignorance, when the principles of drawing, and of art in general, were comparatively unknown; and this attack, therefore, is entirely founded on the a.s.sumption that, although for some unaccountable reason we cannot at present produce artists altogether equal to Raphael, yet that we are on the whole in a state of greater illumination than, at all events, any artists who preceded Raphael; so that we consider ourselves ent.i.tled to look down upon them, and to say that, all things considered, they did some wonderful things for their time; but that, as for comparing the art of Giotto to that of Wilkie or Edwin Landseer, it would be perfectly ridiculous,--the one being a mere infant in his profession, and the others accomplished workmen.