On the Old Road Volume I Part 19

55. But in the meantime I want the public to admire this patience of yours, while they have it, and to understand what it has cost to give them even this, which has to pa.s.s away. We will not take instance in figure engraving, of which the complex skill and textural gradation by dot and checker must be wholly incomprehensible to amateurs; but we will take a piece of average landscape engraving, such as is sent out of any good workshop--the master who puts his name at the bottom of the plate being of course responsible only for the general method, for the sufficient skill of subordinate hands, and for the few finis.h.i.+ng touches if necessary. We will take, for example, the plate of Turner's "Mercury and Argus," engraved in this Journal.[68]

56. I suppose most people, looking at such a plate, fancy it is produced by some simple mechanical artifice, which is to drawing only what printing is to writing. They conclude, at all events, that there is something complacent, sympathetic, and helpful in the nature of steel; so that while a pen-and-ink sketch may always be considered an achievement proving cleverness in the sketcher, a sketch on steel comes out by mere favor of the indulgent metal: or perhaps they think the plate is woven like a piece of pattern silk, and the pattern is developed by pasteboard cards punched full of holes. Not so. Look close at that engraving--imagine it to be a drawing in pen and ink, and yourself required similarly to produce its parallel! True, the steel point has the one advantage of not blotting, but it has tenfold or twentyfold disadvantage, in that you cannot slur, nor efface, except in a very resolute and laborious way, nor play with it, nor even see what you are doing with it at the moment, far less the effect that is to be.

You must _feel_ what you are doing with it, and know precisely what you have got to do; how deep--how broad--how far apart--your lines must be, etc. and etc. (a couple of lines of etc.'s would not be enough to imply all you must know). But suppose the plate _were_ only a pen drawing: take your pen--your finest--and just try to copy the leaves that entangle the nearest cow's head and the head itself; remembering always that the kind of work required here is mere child's play compared to that of fine figure engraving. Nevertheless, take a strong magnifying gla.s.s to this--count the dots and lines that gradate the nostrils and the edges of the facial bone; notice how the light is left on the top of the head by the stopping at its outline of the coa.r.s.e touches which form the shadows under the leaves; examine it well, and then--I humbly ask of you--try to do a piece of it yourself! You clever sketcher--you young lady or gentleman of genius--you eye-gla.s.sed dilettante--you current writer of criticism royally plural,--I beseech you--do it yourself; do the merely etched outline yourself, if no more. Look you,--you hold your etching needle this way, as you would a pencil, nearly; and then,--you scratch with it! it is as easy as lying. Or if you think that too difficult, take an easier piece;--take either of the light sprays of foliage that rise against the fortress on the right, put your gla.s.s over them--look how their fine outline is first drawn, leaf by leaf; then how the distant rock is put in between, with broken lines, mostly stopping before they touch the leaf outline, and--again, I pray you, do it yourself; if not on that scale, on a larger. Go on into the hollows of the distant rock--traverse its thickets--number its towers--count how many lines there are in a laurel bush--in an arch--in a cas.e.m.e.nt: some hundred and fifty, or two hundred, deliberately drawn lines, you will find, in every square quarter of an inch;--say three thousand to the inch,--each with skillful intent put in its place! and then consider what the ordinary sketcher's work must appear to the men who have been trained to this!

57. "But might not more have been done by three thousand lines to a square inch?" you will perhaps ask. Well, possibly. It may be with lines as with soldiers: three hundred, knowing their work thoroughly, may be stronger than three thousand less sure of their game. We shall have to press close home this question about numbers and purpose presently;--it is not the question now. Supposing certain results required,--atmospheric effects, surface textures, transparencies of shade, confusions of light,--more could _not_ be done with less. There are engravings of this modern school, of which, with respect to their particular aim, it may be said, most truly, they "_cannot_ be better done."

58. Whether an engraving should aim at effects of atmosphere, may be disputable (just as also whether a sculptor should aim at effects of perspective); but I do not raise these points to-day. Admit the aim--let us note the patience; nor this in engraving only. I have taken an engraving for my instance, but I might have taken any form of Art. I call upon all good artists, painters, sculptors, metal-workers, to bear witness with me in what I now tell the public in their name,--that the same Fort.i.tude, the same deliberation, the same perseverance in resolute act--is needed to do _anything_ in Art that is worthy. And why is it, you workmen, that you are silent always concerning your toil; and mock at us in your hearts, within that shrine at Eleusis, to the gate of which you have hewn your way through so deadly thickets of thorn; and leave us, foolish children, outside, in our conceited thinking either that we can enter it in play, or that we are grander for not entering?

Far more earnestly is it to be asked, why do you _stoop_ to us as you mock us? If your secrecy were a n.o.ble one,--if, in that incommunicant contempt, you wrought your own work with majesty, whether we would receive it or not, it were kindly, though ungraciously, done; but now you make yourselves our toys, and do our childish will in servile silence. If engraving were to come to an end this day, and no guided point should press metal more, do you think it would be in a blaze of glory that your art would expire?--that those plates in the annuals, and black proofs in broad shop windows, are of a n.o.bly monumental character,--"chalybe perennius"? I am afraid your patience has been too much like yonder poor Italian child's; and over that genius of yours, low laid by the Matin sh.o.r.e, if it expired so, the lament for Archytas would have to be sung again;--"pulveris exigui--munera." Suppose you were to shake off the dust again! cleanse your wings, like the morning bees on that Matin promontory; rise, in n.o.ble _im_patience, for there is such a thing: the Impatience of the Fourth Cornice.

"Cui buon voler, e giusto amor cavalca."

Shall we try, together, to think over the meaning of that Haste, when the May mornings come?

FOOTNOTES:

[67] A small portion of this chapter was read by Mr. Ruskin, at Oxford, in November 1884, as a by-lecture, during the delivery of the course on the "Pleasures of England."--ED.

[68] The rest of this and the whole of the succeeding paragraph is also reprinted in _Ariadne Florentina_, - 115, and para. i. of 116.--ED.

CHAPTER IV.[69]

59. It is a wild March day,--the 20th; and very probably due course of English Spring will bring as wild a May-day by the time this writing meets anyone's eyes; but at all events, as yet the days are rough, and as I look out of my fitfully lighted window into the garden, everything seems in a singular hurry. The dead leaves; and yonder two living ones, on the same stalk, tumbling over and over each other on the lawn, like a quaint mechanical toy; and the fallen sticks from the rooks' nests, and the twisted straws out of the stable-yard--all going one way, in the hastiest manner! The puffs of steam, moreover, which pa.s.s under the wooded hills where what used to be my sweetest field-walk ends now, prematurely, in an abyss of blue clay; and which signify, in their silvery expiring between the successive trunks of wintry trees, that some human beings, thereabouts, are in a hurry as well as the sticks and straws, and, having fastened themselves to the tail of a manageable breeze, are being blown down to Folkestone.

60. In the general effect of these various pa.s.sages and pa.s.sengers, as seen from my quiet room, they look all very much alike. One begins seriously to question with one's self whether those pa.s.sengers by the Folkestone train are in truth one whit more in a hurry than the dead leaves. The difference consists, of course, in the said pa.s.sengers knowing where they are going to, and why; and having resolved to go there--which, indeed, as far as Folkestone, may, perhaps, properly distinguish them from the leaves: but will it distinguish them any farther? Do many of them know what they are going to Folkestone for?--what they are going anywhere for? and where, at last, by sum of all the days' journeys, of which this glittering transit is one, they are going for peace? For if they know not this, certainly they are no more making haste than the straws are. Perhaps swiftly going the wrong way; more likely going no way--any way, as the winds and their own wills, wilder than the winds, dictate; to find themselves at last at the end which would have come to them quickly enough without their seeking.

61. And, indeed, this is a very preliminary question to all measurement of the rate of going, this "where to?" or, even before that, "are we going on at all?"--"getting on" (as the world says) on any road whatever? Most men's eyes are so fixed on the mere swirl of the wheel of their fortunes, and their souls so vexed at the reversed cadences of it when they come, that they forget to ask if the curve they have been carried through on its circ.u.mference was circular or cycloidal; whether they have been bound to the ups and downs of a mill-wheel or of a chariot-wheel.

That phrase, of "getting on," so perpetually on our lips (as indeed it should be), do any of us take it to our hearts, and seriously ask where we can get on _to_? That instinct of hurry has surely good grounds. It is all very well for lazy and nervous people (like myself for instance) to retreat into tubs, and holes, and corners, anywhere out of the dust, and wonder within ourselves, "what all the fuss can be about?" The fussy people might have the best of it, if they know their end. Suppose they were to answer this March or May morning thus:--"Not bestir ourselves, indeed! and the spring sun up these four hours!--and this first of May, 1865, never to come back again; and of Firsts of May in perspective, supposing ourselves to be 'nel mezzo del cammin,' perhaps some twenty or twenty-five to be, not without presumption, hoped for, and by no means calculated upon. Say, twenty of them, with their following groups of summer days; and though they may be long, one cannot make much more than sixteen hours apiece out of them, poor sleepy wretches that we are; for even if we get up at four, we must go to bed while the red yet stays from the sunset: and half the time we are awake, we must be lying among hayc.o.c.ks, or playing at something, if we are wise; not to speak of eating, and previously earning whereof to eat, which takes time: and then, how much of us and of our day will be left for getting on? Shall we have a seventh, or even a t.i.the, of our twenty-four hours?--two hours and twenty-four minutes clear, a day, or, roughly, a thousand hours a year, and (violently presuming on fortune, as we said) twenty years of working life: twenty thousand hours to get on in, altogether? Many men would think it hard to be limited to an utmost twenty thousand pounds for their fortunes, but here is a sterner limitation; the Pactolus of time, sand, and gold together, would, with such a fortune, count us a pound an hour, through our real and serviceable life. If this time capital would reproduce itself! and for our twenty thousand hours we could get some rate of interest, if well spent? At all events, we will do something with them; not lie moping out of the way of the dust, as you do."

62. A sufficient answer, indeed; yet, friends, if you would _make_ a little less dust, perhaps we should all see our way better. But I am ready to take the road with you, if you mean it so seriously--only let us at least consider where we are now, at starting.

Here, on a little spinning, askew-axised thing we call a planet--(impertinently enough, since we are far more planetary ourselves). A round, rusty, rough little metallic ball--very hard to live upon; most of it much too hot or too cold: a couple of narrow habitable belts about it, which, to wandering spirits, must look like the places where it has got damp, and green-moldy, with accompanying small activities of animal life in the midst of the lichen. Explosive gases, seemingly, inside it, and possibilities of very sudden dispersion.

63. This is where we are; and roundabout us, there seem to be more of such b.a.l.l.s, variously heated and chilled, ringed and mooned, moved and comforted; the whole giddy group of us forming an atom in a milky mist, itself another atom in a sh.o.r.eless phosph.o.r.escent sea of such Volvoces and Medusae.

Whereupon, I presume, one would first ask, have we any chance of getting off this ball of ours, and getting on to one of those finer ones? Wise people say we have, and that it is very wicked to think otherwise. So we will think no otherwise; but, with their permission, think nothing about the matter now, since it is certain that the more we make of our little rusty world, such as it is, the more chance we have of being one day promoted into a merrier one.

64. And even on this rusty and moldy Earth, there appear to be things which may be seen with pleasure, and things which might be done with advantage. The stones of it have strange shapes; the plants and the beasts of it strange ways. Its air is coinable into wonderful sounds; its light into manifold colors: the trees of it bring forth pippins, and the fields cheese (though both of these may be, in a finer sense, "to come"). There are bright eyes upon it which reflect the light of other eyes quite singularly; and foolish feelings to be cherished upon it; and gladdenings of dust by neighbor dust, not easily explained, but pleasant, and which take time to win. One would like to know something of all this, I suppose?--to divide one's score of thousand hours as shrewdly as might be. Ten minutes to every herb of the field is not much; yet we shall not know them all, so, before the time comes to be made gra.s.s of ourselves! Half an hour for every crystalline form of clay and flint, and we shall be near the need of shaping the gray flint stone that is to weigh upon our feet. And we would fain dance a measure or two before that c.u.mber is laid upon them: there having been hitherto much piping to which we have not danced. And we must leave time for loving, if we are to take Marmontel's wise peasant's word for it, "_Il n'y a de bon que c'a!_" And if there should be fighting to do also? and weeping?

and much burying? truly, we had better make haste.

65. Which means, simply, that we must lose neither strength nor moment.

Hurry is not haste; but economy is, and rightness is. Whatever is rightly done stays with us, to support another right beyond, or higher up: whatever is wrongly done, vanishes; and by the blank, betrays what we would have built above. Wasting no word, no thought, no doing, we shall have speed enough; but then there is that farther question, what shall we do?--what we are fittest (worthiest, that is) to do, and what is best worth doing? Note that word "worthy," both of the man and the thing, for the two dignities go together. Is _it_ worth the pains? Are we worth the task? The dignity of a man depends wholly upon this harmony. If his task is above him, he will be undignified in failure; if he is above it, he will be undignified in success. His own composure and n.o.bleness must be according to the composure of his thought to his toil.

66. As I was dreaming over this, my eyes fell by chance on a page of my favorite thirteenth century psalter, just where two dragons, one with red legs, and another with green,--one with a blue tail on a purple ground, and the other with a rosy tail on a golden ground, follow the verse "_Quis ascendet in montem Domini_," and begin the solemn "_Qui non accepit in vano animam suam_." Who hath not lift up his soul unto vanity, we have it; and [Greek: elaben epi mataio], the Greeks (not that I know what that means accurately): broadly, they all mean, "who has not received nor given his soul in vain," this is the man who can make haste, even uphill, the only haste worth making; and it must be up the right hill, too: not that Corinthian Acropolis, of which, I suppose, the white specter stood eighteen hundred feet high, in Hades, for Sisyphus to roll his fantastic stone up--image, himself, forever of the greater part of our wise mortal work.

67. Now all this time, whatever the reader may think, I have never for a moment lost sight of that original black line with which is our own special business. The patience, the speed, the dignity, we can give to that, the choice to be made of subject for it, are the matters I want to get at. You think, perhaps, that an engraver's function is one of no very high dignity;--does not involve a serious choice of work. Consider a little of it. Here is a steel point, and 'tis like Job's "iron pen"--and you are going to cut into steel with it, in a most deliberate way, as into the rock forever. And this scratch or inscription of yours will be seen of a mult.i.tude of eyes. It is not like a single picture or a single wall painting; this multipliable work will pa.s.s through thousand thousand hands, strengthen and inform innumerable souls, if it be worthy; vivify the folly of thousands if unworthy. Remember, also, it will mix in the very closest manner in domestic life. This engraving will not be gossiped over and fluttered past at private views of academies; listlessly sauntered by in corners of great galleries. Ah, no! This will hang over parlor chimney-pieces--shed down its hourly influence on children's forenoon work. This will hang in little luminous corners by sick beds; mix with flickering dreams by candlelight, and catch the first rays from the window's "glimmering square." You had better put something good into it! I do not know a more solemn field of labor than that _champ d'acier_. From a pulpit, perhaps a man can only reach one or two people, for that time,--even your book, once carelessly read, probably goes into a bookcase catacomb, and is thought of no more.

But this; taking the eye unawares again and again, and always again: persisting and inevitable! where will you look for a chance of saying something n.o.bly, if it is not here?

68. And the choice is peculiarly free; to you of all men most free. An artist, at first invention, cannot always choose what shall come into his mind, nor know what it will eventually turn into. But you, professed copyists, unless you have mistaken your profession, have the power of governing your own thoughts, and of following and interpreting the thoughts of others. Also, you see the work to be done put plainly before you; you can deliberately choose what seems to you best, out of myriads of examples of perfect Art. You can count the cost accurately; saying, "It will take me a year--two years--five--a fourth or fifth, probably, of my remaining life, to do this." Is the thing worth it? There is no excuse for choosing wrongly; no other men whatever have data so full, and position so firm, for forecast of their labor.

69. I put my psalter aside (not, observe, vouching for its red and green dragons:--men lifted up their souls to vanity sometimes in the thirteenth as in the nineteenth century), and I take up, instead, a book of English verses, published--there is no occasion to say when. It is full of costliest engravings--large, skillful, appallingly laborious; dotted into textures like the dust on a lily leaf,--smoothed through gradations like clouds,--graved to surfaces like mother-of-pearl; and by all this toil there is set forth for the delight of Englishwomen, a series of the basest dreams that ungoverned feminine imagination can coin in sickliest indolence,--ball-room amours, combats of curled knights, pilgrimages of disguised girl-pages, romantic pieties, charities in costume,--a ma.s.s of disguised sensualism and feverish vanity--impotent, pestilent, prurient, scented with a venomous elixir, and rouged with a deadly dust of outward good; and all this done, as such things only can be done, in a boundless ignorance of all natural veracity; the faces falsely drawn--the lights falsely cast--the forms effaced or distorted, and all common human wit and sense extinguished in the vicious sc.u.m of lying sensation.

And this, I grieve to say, is only a characteristic type of a large ma.s.s of popular English work. This is what we spend our Teutonic lives in; engraving with an iron pen in the rock forever; this, the pa.s.sion of the Teutonic woman (as opposed to Virgilia), just as foxhunting is the pa.s.sion of the Teutonic man, as opposed to Valerius.

70. And while we deliberately spend all our strength, and all our tenderness, all our skill, and all our money, in doing, relis.h.i.+ng, buying, this absolute Wrongness, of which nothing can ever come but disease in heart and brain, remember that all the mighty works of the great painters of the world, full of life, truth, and blessing, remain to this present hour of the year 1865 unengraved! There literally exists no earnestly studied and fully accomplished engraving of any very great work, except Leonardo's Cena. No large Venetian picture has ever been thoroughly engraved. Of t.i.tian's Peter Martyr, there is even no worthy memorial transcript but Le Febre's. The Cartoons have been multiplied in false readings; never in faithful ones till lately by photography. Of the Disputa and the Parna.s.sus, what can the English public know? of the thoughtful Florentines and Milanese, of Ghirlandajo, and Luini, and their accompanying hosts--what do they yet so much as care to know?

"The English public will not pay," you reply, "for engravings from the great masters. The English public will only pay for pictures of itself; of its races, its rifle-meetings, its rail stations, its parlor-pa.s.sions, and kitchen interests; you must make your bread as you may, by holding the mirror to it."

71. Friends, there have been hard fighting and heavy sleeping, this many a day, on the other side of the Atlantic, in the cause, as you suppose, of Freedom against slavery; and you are all, open-mouthed, expecting the glories of Black Emanc.i.p.ation. Perhaps a little White Emanc.i.p.ation on this side of the water might be still more desirable, and more easily and guiltlessly won.

Do you know what slavery means? Suppose a gentleman taken by a Barbary corsair--set to field-work; chained and flogged to it from dawn to eve.

Need he be a slave therefore? By no means; he is but a hardly-treated prisoner. There is some work which the Barbary corsair will not be able to make him do; such work as a Christian gentleman may not do, that he will not, though he die for it. Bound and scourged he may be, but he has heard of a Person's being bound and scourged before now, who was not therefore a slave. He is not a whit more slave for that. But suppose he take the pirate's pay, and stretch his back at piratical oars, for due salary, how then? Suppose for fitting price he betray his fellow prisoners, and take up the scourge instead of enduring it--become the smiter instead of the smitten, at the African's bidding--how then? Of all the sheepish notions in our English public "mind," I think the simplest is that slavery is neutralized when you are well paid for it!

Whereas it is precisely that fact of its being paid for which makes it complete. A man who has been sold by another, may be but half a slave or none; but the man who has sold himself! He is the accurately Finished Bondsman.

72. And gravely I say that I know _no_ captivity so sorrowful as that of an artist doing, consciously, bad work for pay. It is the serfdom of the finest gifts--of all that should lead and master men, offering itself to be spit upon, and that for a bribe. There is much serfdom, in Europe, of speakers and writers, but they only sell words; and their talk, even honestly uttered, might not have been worth much; it will not be thought of ten years hence; still less a hundred years hence. No one will buy our parliamentary speeches to keep in portfolios this time next century; and if people are weak enough now to pay for any special and flattering cadence of syllable, it is little matter. But _you_, with your painfully acquired power, your unwearied patience, your admirable and manifold gifts, your eloquence in black and white, which people will buy, if it is good (and has a broad margin), for fifty guineas a copy--in the year 2000; to sell it all, as Ananias his land, "yea, for so much," and hold yourselves at every fool's beck, with your ready points, polished and sharp, hasting to scratch what _he_ wills! To bite permanent mischief in with acid; to spread an inked infection of evil all your days, and pa.s.s away at last from a life of the skillfulest industry--having done whatsoever your hand found (remuneratively) to do, with your might, and a great might, but with cause to thank G.o.d only for this--that the end of it all has at last come, and that "there is no device nor work in the Grave." One would get quit of _this_ servitude, I think, though we reached the place of Rest a little sooner, and reached it fasting.

73. My English fellow-workmen, you have the name of liberty often on your lips; get the fact of it oftener into your business! talk of it less, and try to understand it better. You have given students many copy-books of free-hand outlines--give them a few of free _heart_ outlines.

It appears, however, that you do not intend to help me with any utterance respecting these same outlines.[70] Be it so: I must make out what I can by myself. And under the influence of the Solst.i.tial sign of June I will go backwards, or askance, to the practical part of the business, where I left it three months ago, and take up that question first, touching Liberty, and the relation of the loose swift line to the resolute slow one and of the etched line to the engraved one. It is a worthy question, for the open field afforded by ill.u.s.trated works is tempting even to our best painters, and many an earnest hour and active fancy spend and speak themselves in the black line, vigorously enough, and dramatically, at all events: if wisely, may be considered. The French also are throwing great pa.s.sion into their _eaux fortes_--working with a vivid haste and dark, brilliant freedom, which looked as if they etched with very energetic waters indeed--quite waters of life (it does not look so well, written in French). So we will take, with the reader's permission, for text next month, "Rembrandt, and strong waters."

FOOTNOTES:

[69] _Art Journal_, vol. iv., pp. 129-30. May 1865.--ED.

[70] I have received some interesting private letters, but cannot make use of them at present, because they enter into general discussion instead of answering the specific question I asked, respecting the power of the black line; and I must observe to correspondents that in future their letters should be addressed to the Editor of this Journal, not to me; as I do not wish to incur the responsibility of selection.

CHAPTER V.[71]

74. The work I have to do in this paper ought, rightly, to have been thrown into the form of an appendix to the last chapter; for it is no link of the cestus of Aglaia we have to examine, but one of the crests of canine pa.s.sion in the cestus of Scylla. Nevertheless, the girdle of the Grace cannot be discerned in the full brightness of it, but by comparing it with the dark torment of that other; and (in what place or form matters little) the work has to be done.

"Rembrandt Van Rhyn"--it is said, in the last edition of a very valuable work[72] (for which, nevertheless, I could wish that greater lightness in the hand should be obtained by the publication of its information in one volume, and its criticism in another)--was "the most attractive and original of painters." It may be so; but there are attractions, and attractions. The sun attracts the planets--and a candle, night-moths; the one with perhaps somewhat of benefit to the planets;--but with what benefit the other to the moths, one would be glad to learn from those desert flies, of whom, one company having extinguished Mr. Kinglake's candle with their bodies, the remainder, "who had failed in obtaining this martyrdom, became suddenly serious, and clung despondingly to the canvas."

75. Also, there are originalities, and originalities. To invent a new thing, which is also a precious thing; to be struck by a divinely-guided Rod, and become a sudden fountain of life to thirsty mult.i.tudes--this is enviable. But to be distinct of men in an original Sin; elect for the initial letter of a Lie; the first apparent spot of an unknown plague; a Root of bitterness, and the first-born worm of a company, studying an original De-Composition,--this is perhaps not so enviable. And if we think of it, most human originality is apt to be of that kind. Goodness is one, and immortal; it may be received and communicated--not originated: but Evil is various and recurrent, and may be misbegotten in endlessly surprising ways.

76. But, that we may know better in what this originality consists, we find that our author, after expatiating on the vast area of the Pantheon, "illuminated solely by the small circular opening in the dome above," and on other similar conditions of luminous contraction, tells us that "to Rembrandt belongs the glory of having first embodied in Art, and perpetuated, these rare and beautiful effects of nature." Such effects are indeed rare in nature; but they are not rare, absolutely.

The sky, with the sun in it, does not usually give the impression of being dimly lighted through a circular hole; but you may observe a very similar effect any day in your coal-cellar. The light is not Rembrandtesque on the current, or banks, of a river; but it is on those of a drain. Color is not Rembrandtesque, usually, in a clean house; but is presently obtainable of that quality in a dirty one. And without denying the pleasantness of the mode of progression which Mr. Hazlitt, perhaps too enthusiastically, describes as attainable in a background of Rembrandt's--"You stagger from one abyss of obscurity to another"--I cannot feel it an entirely glorious speciality to be distinguished, as Rembrandt was, from other great painters, chiefly by the liveliness of his darkness, and the dullness of his light. Glorious, or inglorious, the speciality itself is easily and accurately definable. It is the aim of the best painters to paint the n.o.blest things they can see by sunlight. It was the aim of Rembrandt to paint the foulest things he could see--by rushlight.

77. By rushlight, observe: material and spiritual. As the sun for the outer world; so in the inner world of man, that which "[Greek: ereuna tameua koilias]"[73]--"the candle of G.o.d, searching the inmost parts."

If that light within become but a more active kind of darkness;--if, abdicating the measuring reed of modesty for scepter, and ceasing to measure with it, we dip it in such unctuous and inflammable refuse as we can find, and make our soul's light into a _tallow_ candle, and thenceforward take our guttering, sputtering, ill-smelling illumination about with us, holding it out in fetid fingers--enc.u.mbered with its lurid warmth of fungous wick, and drip of stalact.i.tic grease--that we may see, when another man would have seen, or dreamed he saw, the flight of a divine Virgin--only the lamplight upon the hair of a costermonger's a.s.s;--that, having to paint the good Samaritan, we may see only in distance the back of the good Samaritan, and in nearness the back of the good Samaritan's dog;--that having to paint the Annunciation to the Shepherds, we may turn the announcement of peace to men, into an announcement of mere panic to beasts; and, in an unsightly firework of unsightlier angels, see, as we see always, the feet instead of the head, and the shame instead of the honor;--and finally concentrate and rest the sum of our fame, as t.i.tian on the a.s.sumption of a spirit, so we on the dissection of a carca.s.s,--perhaps by such fatuous fire, the less we walk, and by such phosphoric glow, the less we s.h.i.+ne, the better it may be for us, and for all who would follow us.