ARROWS OF THE CHACE.

“Modern Painters”; A Reply.1843.Art Criticism.1843.The Arts as a Branch of Education.1857.Art Teaching by Correspondence.1860.

“Modern Painters”; A Reply.1843.

Art Criticism.1843.

The Arts as a Branch of Education.1857.

Art Teaching by Correspondence.1860.

[From “The Weekly Chronicle,” September 23, 1843.]“MODERN PAINTERS;” A REPLY.

To the Editor of “The Weekly Chronicle.”

Sir: I was much gratified by reading in your columns of the 15th[4]instant a piece of close, candid, and artistical criticism on my work entitled “Modern Painters.” Serious and well-based criticism is at the present day so rare, and our periodicals are filled so universally with the splenetic jargon or meaningless praise of ignorance, that it is no small pleasure to an author to meet either with praise which he can view with patience, or censure which he can regard with respect. I seldom, therefore, read, and have never for an instant thought of noticing, the ordinary animadversions of the press; but the critique on “Modern Painters” in your pages is evidently the work of a man both of knowledge and feeling; and is at once so candid and so keen, so honest and so subtle, that I am desirous of offering a few remarks on the points on which it principally touches—they are of importance to art; and I feel convinced that the writer is desirous only of elucidating truth, not of upholding a favorite error. With respect first to Gaspar’s painting of the “Sacrifice of Isaac.” It is not on the faith of anysingleshadow that I have pronounced the time intended tobe near noon[5]—though the shadow of the two figures being very short, and castfromthe spectator, is in itself conclusive. The whole system of chiaroscuro of the picture is lateral; and the light is expressly shown not to come from the distance by its breaking brightly on the bit of rock and waterfall on the left, from which the high copse wood altogether intercepts the rays proceeding from the horizon. There are multitudes of pictures by Gaspar with this same effect—leaving no doubt whatever on my mind that they are all manufactured by the same approved recipe, probably given him by Nicholas, but worked out by Gaspar with the clumsiness and vulgarity which are invariably attendant on the efforts of an inferior mind to realize the ideas of a greater. The Italian masters universally make the horizon the chief light of their picture, whether the effect intended be of noon or evening. Gaspar, to save himself the trouble of graduation, washes his sky half blue and half yellow, and separates the two colors by a line of cloud. In order to get his light conspicuous and clear, he washes the rest of his sky of a dark deep blue, without any thoughts about time of day or elevation of sun, or any such minutiæ; finally, having frequently found the convenience of a black foreground, with a bit of light coming in round the corner, and probably having no conception of the possibility of painting a foreground on any other principle, he naturally falls into the usual method—blackens it all over, touches in a few rays of lateral light, and turns out a very respectable article; for in such language only should we express the completion of a picture painted throughout on conventional principles, without one reference to nature, and without one idea of the painter’s own. With respect to Salvator’s “Mercury and the Woodman,”[6]your critic has notallowed for the effect of time on its blues. They are now, indeed, sobered and brought down, as is every other color in the picture, until it is scarcely possible to distinguish any of the details in its darker parts; but theyhave beenpure and clean, and the mountain is absolutely the same color as the open part of the sky. When I say it is “in full light,” I do not mean that it is the highest light of the picture (for no distant mountaincanbe so, when compared with bright earth or white clouds), but that no accidental shadow is cast upon it; that it is under open sky, and so illumined that there must necessarily be a difference in hue between its light and dark sides, at which Salvator has not even hinted.

Again, with respect to the question of focal distances,[7]your critic, in common with many very clever people to whom I have spoken on the subject, has confused the obscurity of objects which arelaterallyout of the focalrange, with that of objects which aredirectlyout of the focaldistance. If all objects in a landscape were in the same plane, they should be represented on the plane of the canvas with equal distinctness, because the eye has no greater lateral range on the canvas than in the landscape, and can only command a point in each. But this point in the landscape may present an intersection of lines belonging to different distances—as when a branch of atree, or tuft of grass, cuts against the horizon: and yet these different distances cannot be discerned together: we lose one if we look at the other, so that no painful intersection of lines is ever felt. But on the canvas, as the lines of foreground and of distance are on thesameplane, theywillbe seen together whenever they intersect, painfully and distinctly; and, therefore, unless we make one series, whether near or distant, obscure and indefinite, we shall always represent as visible at once that which the eye can only perceive by two separate acts of seeing. Hold up your finger before this page, six inches from it. If you look at the edge of your finger, you cannot see the letters; if you look at the letters, you cannot see the edge of your finger, but as a confused, double, misty line. Hence in painting, you must either take for your subject the finger or the letters; you cannot paint both distinctly without violation of truth. It is of no consequence how quick the change of the eye may be; it is not one whit quicker than its change from one part of the horizon to another, nor are the two intersecting distances more visible at the same time than two opposite portions of a landscape to which it passes in succession. Whenever, therefore, in a landscape, we look from the foreground to the distance, the foreground is subjected totwodegrees of indistinctness: the first, that of an objectlaterallyout of the focus of the eye; and thesecond, that of an objectdirectlyout of the focus of the eye; being too near to be seen with the focus adapted to the distance. In the picture, when we look from the foreground to the distance, the foreground is subjected only toonedegree of indistinctness, that of being out of the lateral range; for as both the painting of the distance and of the foreground are on the same plane, they are seen together with the same focus. Hence we must supply theseconddegree of indistinctness by slurring with the brush, or we shall have a severe and painful intersection of near and distant lines, impossible in nature. Finally, a very false principle is implied by part of what is advanced by your critic—which has led to infinite error in art, and should therefore be instantly combated whenever it were hinted—that theideal is different from the true. It is, on the contrary, only the perfection of truth. The Apollo is not afalserepresentation of man, but the most perfect representation of all that is constant and essential in man—free from the accidents and evils which corrupt the truth of his nature.[8]Supposing we are describing to a naturalist some animal he does not know, and we tell him we saw one with a hump on its back, and another with strange bends in its legs, and another with a long tail, and another with no tail, he will ask us directly, But what is itstrueform, what is itsrealform? This truth, this reality, which he requires of us, is theidealform, that which is hinted at by all the individuals—aimed at, but not arrived at. But never let it be said that, when a painter is defying the principles of nature at every roll of his brush, as I have shown that Gaspar does, when, instead of working out the essential characters of specific form, and raising those to their highest degree of nobility and beauty, he is casting all character aside, and carrying out imperfection and accident; never let it be said, in excuse for such degradation of nature, that it is done in pursuit of the ideal. As well might this be said in defence of the promising sketch of the human form pasted on the wainscot behind the hope of the family—artist and musician of equal power—in the “Blind Fiddler.”[9]Ideal beauty is the generalization of consummate knowledge, the concentration of perfect truth—not the abortive vision of ignorance in its study. Nor was there ever yet one conception of the human mind beautiful, but as it was based on truth. Wheneverwe leave nature, we fall immeasurably beneath her. So, again, I find fault with the “ropy wreath” of Gaspar,[10]not because he chose massy cloud instead of light cloud; but because he has drawn his massy cloudfalsely, making it look tough and powerless, like a chain of Bologna sausages, instead of gifting it with the frangible and elastic vastness of nature’s mountain vapor.

Finally, Sir, why must it be only “when he is gone from us”[11]that the power of our greatest English landscape painter is to be acknowledged? It cannot, indeed, be fully understood until the current of years has swept away the minor lights which stand around it, and left it burning alone; but at least the scoff and the sneer might be lashed into silence, if those only did their duty by whom it is already perceived. And let us not think that our unworthiness has no effect on the work of the master. I could be patient if I thought thatnoeffect was wrought on his noble mind by the cry of the populace; but, scorn it as he may, and does, it is yet impossible for any human mind to hold on its course, with the same energy and life, through the oppression of a perpetual hissing, as when it is cheered on by the quick sympathy of its fellow-men. It is not in art as in matters of political duty, where the path is clear and the end visible. The springs of feeling may be oppressed or sealed by the want of an answer in other bosoms, though the sense of principle cannot be blunted except by the individual’sownerror; and though the knowledge of what is right, and the love of what is beautiful, may still support our great painter through the languor of age—and Heaven grant it may for years to come—yet we cannot hope that he will ever cast his spirit upon the canvas with the same freedom and fire as ifhe felt that the voice of its inspiration was waited for among men, and dwelt upon with devotion. Once, in ruder times, the work of a great painter[12]was waited for through days at his door, and attended to its place of deposition by the enthusiasm of a hundred cities; and painting rose from that time, a rainbow upon the Seven Hills, and on the cypressed heights of Fiésole, guiding them and lighting them forever, even in the stillness of their decay. How can we hope that England will ever win for herself such a crown, while the works of her highest intellects are set for the pointing of the finger and the sarcasm of the tongue, and the sole reward for the deep, earnest, holy labor of a devoted life, is the weight of stone upon the trampled grave, where the vain and idle crowd will come to wonder how the brushes are mimicked in the marble above the dust of him who wielded them in vain?

I have the honor to be, Sir,Your most obedient servant,The Author of “Modern Painters.”

[From the “Artist and Amateur’s Magazine” (edited by E. V. Rippingille), January,1843, pp. 280-287.]ART CRITICISM.

To the Editor of the “Artist and Amateur’s Magazine.”

Sir—Anticipating, with much interest, your reply to the candid and earnest inquiries of your unknown correspondent, Matilda Y.,[13]I am led to hope that you will allow me to have some share with you in the pleasant task of confirming an honest mind in the truth. Subject always to your animadversion and correction, so far as I may seem to you to be led astray by my peculiar love for the works of the artist to whom her letter refers, I yet trust that in most of the remarks I have to make on the points which have perplexed her, I shall be expressing not only your own opinions, but those of every other accomplished artist who is really acquainted—and which of our English masters is not?—with the noble system of poetry and philosophy which has been put forth on canvas, during the last forty years, by the great painter who has presented us with the almost unparalleled example of a man winning for himself the unanimous plaudits of his generation and time, and then casting them away like dust, that he may build his monument—ære perennius.

Your correspondent herself, in saying that mere knowledgeofpicturescannot qualify a man for the office of a critic, has touched the first source of the schisms of the present, and of all time, in questions of pictorial merit. We are overwhelmed with a tribe of critics who are fully imbued with every kind of knowledge which is useful to the picture-dealer, but with none that is important to the artist. They know where a picturehasbeen retouched, but not where itoughtto have been; they know if it has been injured, but not if the injury is to be regretted. They are unquestionable authorities in all matters relating to the panel or the canvas, to the varnish or the vehicle, while they remain in entire ignorance of that which the vehicle conveys. They are well acquainted with the technical qualities of every master’s touch; and when their discrimination fails, plume themselves on indisputable tradition, and point triumphantly to the documents of pictorial genealogy. But they never goquitefar enough back; they stoponestep short of the real original; they reach the human one, but never the Divine. Whatever, under the present system of study, the connoisseur of the gallery may learn or know, there is one thing he doesnotknow—and that is nature. It is a pitiable thing to hear a man like Dr. Waagen,[14]about to setthe seal of his approbation, or the brand of his reprobation, on all the pictures in our island, expressing his insipid astonishment on his first acquaintance with the sea. “For thefirsttime I understood the truth of their pictures (Backhuysen’s and Van de Velde’s), and the refined art with which, by intervening dashes of sunshine, near or at a distance, andships to animate the scene, they produce such a charming variety on the surface of the sea.” For the first time!—and yet this gallery-bred judge, this discriminator of colored shreds and canvas patches, who has no idea how ships animate the sea, until—charged with the fates of the Royal Academy—he ventures his invaluable person from Rotterdam to Greenwich, will walk up to the work of a man whose brow is hard with the spray of a hundred storms, and characterize it as “wanting in truth of clouds and waves”! Alas for Art, while such judges sit enthroned on their apathy to the beautiful, and their ignorance of the true, and with a canopy of canvas between them and the sky, and a wall of tradition, which may not be broken through, concealing from them the horizon, hurl their darkened verdicts against the works of men, whose night and noon have been wet with the dew of heaven—dwelling on the deep sea, or wandering among the solitary places of the earth, until they have “made the mountains, waves, and skies a part of them and of their souls.”

When information so narrow is yet the whole stock in trade of the highest authorities of the day, what are we to expect from the lowest? Dr. Waagen is a most favorable specimen of the tribe of critics; a man, we may suppose, impartial, above all national or party prejudice, and intimately acquainted with that half of his subject (the technical half) which is all we can reasonably expect to be known by one who has been trained inthe painting-room instead of in the fields. No authority is more incontrovertible in all questions of the genuineness of old pictures. He has at least the merit—not common among those who talk most of the old masters—of knowing what hedoesadmire, and will not fall into the same raptures before an execrable copy as before the original. If, then, we find a man of this real judgment in those matters to which his attention has been directed, entirely incapable, owing to his ignorance of nature, of estimating a modern picture, what can we hope from those lower critics who are unacquainted even with those technical characters which they have opportunities of learning? What, for instance, are we to anticipate from the sapient lucubrations of the critic—for some years back the disgrace of the pages of “Blackwood”—who in one breath displays his knowledge of nature, by styling a painting of a furze bush in the bed of a mountain torrent a specimen of the “high pastoral,” and in the next his knowledge of Art, by informing us that Mr. Lee “reminds him of Gainsborough’s best manner, but is inferior to him in composition”![15]We do not mean to say anything against Mr. Lee; but can we forbear to smile at the hopeless innocence of the man’s novitiate, who could be reminded by them of landscapes powerful enough in color to take their place beside those of Rembrandt or Rubens? A little attention will soon convince your correspondent of the utter futility or falsehood of the ordinary critiques of the press; and there could, I believe, even at present, be little doubt in her mind as to the fitting answer to the question, whether we are to take the opinion of the accomplished artist or of the common newsmonger, were it not for a misgiving which, be she conscious of it or not, is probably floating in her mind—whether that can really begreatArt which has no influence whatsoever on the multitude, and is appreciable only by the initiated few. And this is the real question of difficulty. It is easy to prove that such and such a critic is wrong; but not so, to prove that what everybody dislikes is right. It is fitting topay respect to Sir Augustus Callcott, but is it so to take his word against all the world?

This inquiry requires to be followed with peculiar caution; for by setting at defiance the judgment of the public, we in some sort may appear to justify that host of petty scribblers, and contemptible painters, who in all time have used the same plea in defence of their rejected works, and have received in consequence merciless chastisement from contemporary and powerful authors or painters, whose reputation was as universal as it was just. “Mes ouvrages,” said Rubens to his challenger, Abraham Janssens, “ont été exposés en Italie, et en Espagne, sans que j’aie reçu la nouvelle de leur condamnation. Vous n’avez qu’à soumettre les votres à la même épreuve.”[16]“Je défie,” says Boileau, “tous les amateurs les plus mécontents du public, de me citer un bon livre que le public ait jamais rebuté, à moins qu’ils ne mettent en ce rang leur écrits, de la bonté desquels eux seuls sont persuadés.”

Now the fact is, that the whole difficulty of the question is caused by the ambiguity of this word—the “public.” Whom does it include? People continually forget that there is aseparatepublic for every picture, and for every book. Appealed to with reference to any particular work, the public is that class of persons who possess the knowledge which it presupposes, and the faculties to which it is addressed. With reference to a new edition of Newton’s Principia, the “public” means little more than the Royal Society. With reference to one of Wordsworth’s poems, it means all who have hearts. With reference to one of Moore’s, all who have passions. With reference to the works of Hogarth, it means those who have worldly knowledge to the works of Giotto, those who have religious faith. Each work must be tested exclusively bythe fiat of theparticularpublic to whom it is addressed. We will listen to no comments on Newton from people who have no mathematical knowledge; to none on Wordsworth from those who have no hearts; to none on Giotto from those who have no religion. Therefore, when we have to form a judgment of any new work, the question “What do the public say to it?” is indeed of vital importance; but we must always inquire, first, who areitspublic? We must not submit a treatise on moral philosophy to a conclave of horse-jockeys, nor a work of deep artistical research to the writers for the Art Union.

The public, then, we repeat, when referred to with respect to a particular work, consist only of those who have knowledge of its subject, and are possessed of the faculties to which it is addressed.

If it fail of touchingthese, the work is a bad one; but it in no degree militates against it that it is rejected by those to whom it does not appeal. To whom, then, let us ask, and towhatpublic do the works of Turner appeal? To those only, we reply, who have profound and disciplined acquaintance with nature, ardent poetical feeling, and keen eye for color (a faculty far more rare than an ear for music). They are deeply-toned poems, intended for all who love poetry, but not for those who delight in mimickries of wine-glasses and nutshells. They are deep treatises on natural phenomena, intended for all who are acquainted with such phenomena, but not for those who, like the painter Barry, are amazed at finding the realities of the Alps grander than the imaginations of Salvator, and assert that they saw the moon from the Mont Cenis four times as big as usual, “from being so much nearer to it”![17]And they are studied melodies of exquisite color,intended for those who have perception of color; not for those who fancy that all trees are Prussian green. Then comes the question, Were the works of Turnereverrejected by any person possessing even partially these qualifications? We answer boldly, never. On the contrary, they are universally hailed bythispublic with an enthusiasm not undeserving in appearance—at least to those who are debarred from sharing in it, of its usual soubriquet—the Turner mania.

Is, then, the number of those who are acquainted with the truth of nature so limited? So it has been asserted by one who knew much both of Art and Nature, and both were glorious in his country.[19]

“ΙΙΙ. Οὐ μέντοι εἰώθασιν ἄνθρωποι ὀνομάζειν οὔτωςΣΩ. Πότερον, ὦ Ἱππία, οἱ εἰδότες ἢ οἱ μὴ εἰδότες;ΙΠ. Οἱ πολλοί.ΣΩ. Εἰσὶ δ᾿ οὗτοι οἱ εἰδότες τἀληθές, οἱ πολλοί;ΙΠ. Οὐ δῆτα.Hippias Major.

Now, we are not inclined to go quite so far as this. There are many subjects with respect to which the multitudearecognizant of truth, or at least ofsometruth; and those subjects may be generally characterized as everything which materially concerns themselves or their interests. The public are acquainted with the nature of their own passions, and the point of their own calamities—can laugh at the weakness theyfeel, and weep at the miseries they have experienced; but all the sagacity they possess, be it how great soever, will not enable them to judge of likeness to that which they have never seen, nor to acknowledge principles on which they have never reflected. Of a comedy or a drama, an epigram or a ballad, they are judges from whom there is no appeal; but not of the representation of facts which they have never examined, of beauties which they have never loved. It is not sufficient that the facts or the features of nature be around us, while they are not within us. We may walk day by day through grove and meadow, and scarcely know more concerning them than is known by bird and beast, that the one has shade for the head, and the other softness for the foot. It is not true that “the eye, it cannot choose but see,” unless we obey the following condition, and go forth “in a wise passiveness,”[21]free from that plague of our own hearts which brings the shadow of ourselves, and the tumult of our petty interests and impatient passions, across the light and calm of Nature. We do not sit at the feet of our mistress to listen to her teaching; but we seek her only to drag from her that which may suit our purpose, to see in her the confirmation of a theory, or find in her fuel for our pride. Nay, do we often go to her even thus? Have we not rather cause to take to ourselves the full weight of Wordsworth’s noble appeal—

“Vain pleasures of luxurious life!Forever with yourselves at strife,Through town and country, both derangedBy affections interchanged,And all the perishable gaudsThat heaven-deserted man applauds.When will your hapless patrons learnTo watch and ponder, to discernThe freshness, the eternal youthOf admiration, sprung from truth,From beauty infinitely growingUpon a mind with love overflowing:To sound the depths of every artThat seeks its wisdom through the heart?”[22]

Whenwillthey learn it? Hardly, we fear, in this age of steam and iron, luxury and selfishness. We grow more and more artificial day by day, and see less and less worthiness in those pleasures which bring with them no morbid excitement, in that knowledge which affords us no opportunity of display. Your correspondent may rest assured that those who do notcarefor nature, who do not love her,cannotsee her. A few of her phenomena lie on the surface; the nobler number lie deep, and are the reward of watching and of thought. The artist may choosewhichhe will render: no human art can render both. If he paint the surface, he will catch the crowd; if he paint the depth, he will be admired only—but with how deep and fervent admiration, none but they who feel it can tell—by the thoughtful and observant few.

There are some admirable observations on this subject in your December number (“An Evening’s Gossip with a Painter”[23]); but there is one circumstance with respect to the works of Turner which yet further limits the number of their admirers. They are not prosaic statements of the phenomena of nature—they are statements of them under the influence of ardent feeling; they are, in a word, the most fervent and real poetry which the English nation is at present producing. Now not only is this proverbially an age in which poetry is little cared for; but even with those who have most love of it, and most need of it, it requires, especially if high and philosophical, an attuned, quiet, and exalted frame of mind for itsenjoyment; and if dragged into the midst of the noisy interests of every-day life, may easily be made ridiculous or offensive. Wordsworth recited, by Mr. Wakley, in the House of Commons, in the middle of a financial debate, would sound, in all probability, very like Mr. Wakley’s[24]own verses. Wordsworth, read in the stillness of a mountain hollow, has the force of the mountain waters. What would be the effect of a passage of Milton recited in the middle of a pantomime, or of a dreamy stanza of Shelley upon the Stock Exchange? Are we to judge of the nightingale by hearing it sing in broad daylight in Cheapside? For just such a judgment do we form of Turner by standing before his pictures in the Royal Academy. It is a strange thing that the public never seem to suspect that there may be a poetry in painting, to meet which, some preparation of sympathy, some harmony of circumstance, is required; and that it is just as impossible to see half a dozen great pictures as to read half a dozen great poems at the same time, if their tendencies or their tones of feeling be contrary or discordant. Let us imagine what would be the effect on the mind of any man of feeling, to whom an eager friend, desirous of impressing upon him the merit of different poets, should read successively, and without a pause, the following passages, in which lie something of the prevailing character of the works of six of our greatest modern artists:

Landseer.“His hair, his size, his mouth, his lugs,Show’d he was nane o’ Scotland’s dougs,But whalpit some place far abroadWhar sailors gang to fish for cod.”[25]

Martin.“Far in the horizon to the north appear’d,From skirt to skirt, a fiery region, stretchedIn battailous aspéct, and nearer viewBristled with upright beams innumerableOf rigid spears, and helmets throng’d, and shieldsVarious, with boastful argument portray’d.”

Wilkie.“The risin’ moon began to glowrThe distant Cumnock hills out owre;To count her horns, wi’ a’ my pow’r,I set mysel’;But whether she had three or fowr,I couldna tell.”

Eastlake.“And thou, who tell’st me to forget,Thy looks are wan, thine eyes are wet.”

Stanfield.“Ye mariners of England,Who guard our native seas,Whose flag has braved a thousand yearsThe battle and the breeze.”

Turner.“The point of one white star is quivering still,Deep in the orange light of widening dawn,Beyond the purple mountains. Through a chasmOf wind-divided mist the darker lakeReflects it, now it fades: it gleams again,As the waves fall, and as the burning threadsOf woven cloud unravel in pale air,’Tis lost! and through yon peaks of cloudlike snowThe roseate sunlight quivers.”

Precisely to such advantage as the above passages, so placed,[26]appear, are the works of any painter of mind seen in theAcademy. None suffer more than Turner’s, which are not only interfered with by the prosaic pictures around them, but neutralize each other. Two works of his, side by side, destroy each other to a dead certainty, for each is so vast, so complete, so demandant of every power, so sufficient for every desire of the mind, that it is utterly impossible for two to be comprehended together. Each must have the undivided intellect, and each is destroyed by the attraction of the other; and it is the chief power and might of these pictures, that they are works for the closet and the heart—works to be dwelt upon separately and devotedly, and then chiefly when the mind is in its highest tone, and desirous of a beauty which may be food for its immortality. It is the very stamp and essence of the purest poetry, that it can only be so met and understood; and that the clash of common interests, and the roar of the selfish world, must be hushed about the heart, before it can hear the still, small voice, wherein rests the power communicated from the Holiest.[27]

Can, then, will be, if I mistake not, the final inquiry of your correspondent,—can, then, we ordinary mortals,—can I, who am not Sir Augustus Callcott, nor Sir Francis Chantrey, ever derive any pleasure from works of this lofty character? Heaven forbid, we reply, that it should be otherwise.Nothingmore is necessary for the appreciation of them, than that which is necessary for the appreciation of any great writer—the quiet study of him with an humble heart. There are, indeed, technical qualities, difficulties overcome and principles developed,which are reserved for the enjoyment of the artist; but these do not add to the influence of the picture. On the contrary, we must break through its charm, before we can comprehend its means, and “murder to dissect.” The picture is intended, not for artists alone, but for all who love what it portrays; and so little doubt have we of the capacity of all to understand the works in question, that we have the most confident expectation, within the next fifty years, of seeing the name of Turner placed on the same impregnable height with that of Shakespeare.[29]Both have committed errors of taste and judgment. In both it is, or will be, heresy even to feel those errors, so entirely are they overbalanced by the gigantic powers of whose impetuosity they are the result. So soon as the public are convinced, by the maintained testimony of high authority, that Turner is worth understanding, they will try to understand him; and if they try, they can. Nor are they, now, as is commonly thought, despised or defied by him. He has too much respect for them to endeavor to please them by falsehood. He will not win for himself a hearing by the betrayal of his message.

Finally, then, we would recommend your correspondent, first, to divest herself of every atom of lingering respect or regard for the common criticism of the press, and to hold fastby the authority of Callcott, Chantrey, Landseer, and Stanfield; and this, not because we would have herslavishlysubject to any authority but that of her own eyes and reason, but because we would not have her blown about with every wind of doctrine, before she has convinced her reason or learned to use her eyes. And if she can draw at all, let her make careful studies of any natural objects that may happen to come in her way,—sticks, leaves, or stones,—and of distant atmospheric effects on groups of objects; not for the sake of the drawing itself, but for the sake of the powers of attention and accurate observation which thus only can be cultivated. And let her make the study, not thinking of this artist or of that; not conjecturing what Harding would have done, or Stanfield, or Callcott, with her subject; not trying to draw in a bold style, or a free style, or any other style; but drawingallshesees, as far as may be in her power, earnestly, faithfully, unselectingly; and, which is perhaps the more difficult task of the two,notdrawing what she doesnotsee. Oh, if people did but know how many lines naturesuggestswithoutshowing, what different art should we have! And let her never be discouraged by ill success. She will seldom have gained more knowledge than when she most feels her failure. Let her use every opportunity of examining the works of Turner; let her try to copy them, then try to copy some one else’s, and observe which presents most of that kind of difficulty which she found in copying nature. Let her, if possible, extend her acquaintance with wild natural scenery of every kind and character, endeavoring in each species of scenery to distinguish those features which are expressive and harmonious from those which are unaffecting or incongruous; and after a year or two of such discipline as this, let her judge for herself. No authority need then, or can then, be very influential with her. Her own pleasure in works of true greatness[30]will be too real, tooinstinctive, to be persuaded or laughed out of her. We bid her, therefore, heartily good-speed, with this final warning: Let her beware, in going to nature, of taking with her the commonplace dogmas or dicta of art. Let her not look for what is like Titian or like Claude, for composed form or arranged chiaroscuro; but believe that everything which God has made is beautiful, and that everything which nature teaches is true. Let her beware, above everything, of that wicked pride which makes man think he can dignify God’s glorious creations, or exalt the majesty of his universe. Let her be humble, we repeat, and earnest Truth was never sealed, if so sought. And once more we bid her good-speed in the words of our poet-moralist:

“Enough of Science and of Art:Seal up these barren leaves;Come forth, and bring with you a heartThat watches, and receives.”[31]

I have the honor to be, Sir,Your obedient humble servant,The Author of“Modern Painters.”

[From “Some Account of the Origin and Objects of the New Oxford Examinations for the Title of Associate in Arts and Certificates,” by T. D. Acland, late Fellow of All Souls’ College, Oxford,[32]1858, pp. 54-60.]

THE ARTS AS A BRANCH OF EDUCATION.

Penrith, Sept. 25, 1857.

My dear Sir: I have just received your most interesting letter, and will try to answer as shortly as I can, saying nothing of what I feel, and what you must well know I should feel,respecting the difficulty of the questions and their importance; except only this, that I should not have had the boldness to answer your letter by return of post, unless, in consequence of conversations on this subject with Mr. Acland and Dr. Acland, two months ago, I had been lately thinking of it more than of any other.[33]

Your questions fall under two heads: (1) The range which an art examination can take; (2) The connection in which it should be placed with other examinations.

I think the art examination should have three objects:

(1) To put the happiness and knowledge which the study of art conveys within the conception of the youth, so that he may in after-life pursue them, if he has the gift.

(2) To enforce, as far as possible, such knowledge of art among those who are likely to become its patrons, or the guardian of its works, as may enable them, usefully to fulfil those duties.

(3) To distinguish pre-eminent gift for the production of works of art, so as to get hold of all the good artistical faculty born in the country, and leave no Giotto lost among hill-shepherds.[34]

In order to accomplish the first object, I think that, according to Mr. Acland’s proposal, preliminary knowledge of drawing and music should be asked for, in connection with writing and arithmetic; but not, in the preliminary examination, made to count towards distinction in other schools. I think drawing is a necessary means of the expression of certain facts of form and means of acquaintance with them, as arithmetic is the means of acquaintance with facts of number. I think the facts which an elementary knowledge of drawing enables a man to observe and note are often of as much importance to him as those which he can describe in words or calculate in numbers. And I think the cases in which mental deficiency would prevent the acquirement of a serviceable power of drawing would be found as rare as those in which no progress could be made in arithmetic. I would not desire this elementary knowledge to extend far, but the limits which I would propose are not here in question. While I feel the force of all the admirable observations of Mr. Hullah on the use of the study of music, I imagine that the cases of physical incapacity of distinguishing sounds would be too frequent to admit of musical knowledge being made arequirement; I wouldaskfor it, in Mr. Acland’s sense; but the drawing might, I think, be required, as arithmetic would be.

2. To accomplish the second object is the main difficulty. Touching which I venture positively to state:

First. That sound criticism of art is impossible to young men, for it consists principally, and in a far more exclusive sense than has yet been felt, in the recognition of the facts represented by the art. A great artist represents many and abstruse facts; it is necessary, in order to judge of his works, that all those facts should be experimentally (not by hearsay) known to the observer; whose recognition of them constitutes his approving judgment. A young mancannotknow them.

Criticism of art by young men must, therefore, consist either in the more or less apt retailing and application of received opinions, or in a more or less immediate and dextrous use of the knowledge they already possess, so as to be able to assert of given works of art that they are true up to a certain point; the probability being then that they are true farther than the young man sees.

The first kind of criticism is, in general, useless, if not harmful; the second is that which the youths will employ who are capable of becoming critics in after years.

Secondly. All criticism of art, at whatever period of life, must be partial; warped more or less by the feelings of the person endeavoring to judge. Certain merits of art (as energy, for instance) are pleasant only to certain temperaments; and certain tendencies of art (as, for instance, to religious sentiment) can only be sympathized with by one order of minds. It is almost impossible to conceive of any mode of examination which would set the students on anything like equitable footing in such respects; but their sensibility to art may be generally tested.

Thirdly. The history of art, or the study, in your accurate words, “aboutthe subject,” is in no wise directly connected with the studies which promote or detect art-capacity or art-judgment. It is quite possible to acquire the most extensive and useful knowledge of the forms of art existing in different ages, and among different nations, without thereby acquiring any power whatsoever of determining respecting any of them (much less respecting a modern work of art) whether it is good or bad.

These three facts being so, we had perhaps best consider, first, what direction the art studies of the youth should take, as that will at once regulate the mode of examination.

First. He should be encouraged to carry forward the practical power of drawing he has acquired in the elementary school. This should be done chiefly by using that power as a help in other work: precision of touch should be cultivated by map-drawing in his geography class; taste in form by flower-drawingin the botanical schools; and bone and limb drawing in the physiological schools. His art, kept thus to practical service, will always be right as far as it goes; there will be no affectation or shallowness in it. The work of the drawing-master would be at first little more than the exhibition of the best means and enforcement of the most perfect results in the collateral studies of form.

Secondly. His critical power should be developed by the presence around him of the best models,into the excellence of which his knowledge permits him to enter. He should be encouraged, above all things, to form and express judgment of his own; not as if his judgment were of any importance as related to the excellence of the thing, but that both his master and he may know precisely in what state his mind is. He should be told of an Albert Dürer engraving, “Thatisgood, whether you like it or not; but be sure to determinewhetheryou do or do not, and why.” All formal expressions of reasons for opinion, such as a boy could catch up and repeat, should be withheld like poison; and all models which are too good for him should be kept out of his way. Contemplation of works of art without understanding them jades the faculties and enslaves the intelligence. A Rembrandt etching is a better example to a boy than a finished Titian, and a cast from a leaf than one of the Elgin marbles.

Thirdly. I would no more involve the art-schools in the study of the history of art than surgical schools in that of the history of surgery. But a general idea of the influence of art on the human mind ought to be given by the study of history in the historical schools; the effect of a picture, and power of a painter, being examined just as carefully (in relation to its extent) as the effect of a battle and the power of a general. History, in its full sense, involves subordinate knowledge of all that influences the acts of mankind; it has hardly yet been written at all, owing to the want of such subordinate knowledge in the historians; it has been confined either to the relation of events by eye-witnesses (the only valuable form of it), or the more or less ingenious collation of such-relations. Andit is especially desirable to give history a more archæological range at this period, so that the class of manufactures produced by a city at a given date should be made of more importance in the student’s mind than the humors of the factions that governed, or details of the accidents that preserved it, because every day renders the destruction of historical memorials more complete in Europe owing to the total want of interest in them felt by its upper and middle classes.

Fourthly. Where the faculty for art was special, it ought to be carried forward to the study of design, first in practical application to manufacture, then in higher branches of composition. The general principles of the application of art to manufacture should be explained in all cases, whether of special or limited faculty. Under this head we may at once get rid of the third question stated in the first page—how to detect special gift. The power of drawing from a given form accurately would not be enough to prove this: the additional power of design, with that of eye for color, which could be tested in the class concerned with manufacture, would justify the master in advising and encouraging the youth to undertake special pursuit of art as an object of life.

It seems easy, on the supposition of such a course of study, to conceive a mode of examination which would test relative excellence. I cannot suggest the kind of questions which ought to be put to the class occupied with sculpture; but in my own business of painting, I should put, in general, such tasks and questions as these:

(1) “Sketch such and such an object” (given a difficult one, as a bird, complicated piece of drapery, or foliage) “as completely as you can in light and shade in half an hour.”

(2) “Finish such and such a portion of it” (given a very small portion) “as perfectly as you can, irrespective of time.”

(3) “Sketch it in color in half an hour.”

(4) “Design an ornament for a given place and purpose.”

(5) “Sketch a picture of a given historical event in pen and ink.”

(6) “Sketch it in colors.”

(7) “Name the picture you were most interested in in the Royal Academy Exhibition of this year. State in writing what you suppose to be its principal merits—faults—the reasons of theinterestyou took in it.”

I think it is only the fourth of these questions which would admit of much change; and the seventh, in the name of the exhibition; the question being asked, without previous knowledge by the students, respecting someoneof four or five given exhibitions which should be visited before the Examination.

This being my general notion of what an Art-Examination should be, the second great question remains of the division of schools and connection of studies.

Now I have not yet considered—I have not, indeed, knowledge enough to enable me to consider—what the practical convenience or results of given arrangements would be. But the logical and harmonious arrangement is surely a simple one; and it seems to me as if it would not be inconvenient, namely (requiring elementary drawing with arithmetic in the preliminary Examination), that there should then be three advanced schools:

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