Sometimes I think insects smell the approaching observer as the deer wind the stalker. The Gatekeeper butterfly is common; its marking is very ingenious, may I say? regular, and yet irregular. The pattern is complete, and yet it is incomplete; it is finished, and yet it suggests to the mind that the lines ought to go on farther. They go out into space beyond the wing. If a carpet were copied from it, and laid down in a room, the design would want to run through the walls. Imagine the flower-bird's wing detached from some immense unseen carpet and set floating—it is a piece of something not ended in itself, and yet floating about complete. Some of their wings are neatly cut to an edge and bordered; of some the edge is lost in colour, because no line is drawn along it. Some seem to have ragged edges naturally, and look as if they had been battered. Towards the end of their lives little bits of the wing drop out, as if punched. The markings on the under wings have a tendency to run into arches, one arch above the other. The tendency to curve may be traced everywhere in things as wide apart as a flower-bird's wing and the lines on a scallop-shell.
I own to a boyish pleasure in seeing the clouds of brown chafers in early summer clustering on the maple hedges and keeping up a continual burring. They stick to the fingers like the bud of a horse-chestnut. Now the fern owl pitches himself over the oaks in the evening as a boy might throw a ball careless whither it goes; the next moment he comes up out of the earth under your feet. The night cuckoo might make another of his many names; his colour, ways, and food are all cuckoo-like; so, too, his immense gape—a cave in which endless moths end their lives; the eggs are laid on the ground, for there is no night-feeding bird into whose nest they could be put, else, perhaps, they would be. There is no night-feeding bird to feed the fern owl's young. Does any one think the cuckoo could herself feed two young cuckoos? How many birds would it take to feed three young cuckoos? Supposing there werefiveyoung cuckoos in the nest, would it not take almost all the birds in a hedge to feed them? For the incredible voracity of the young cuckoo—swallow, swallow, swallow, and gape, gape, gape—cannot be computed. The two robins or the pair of hedge-sparrows in whose nest the young cuckoo is bred, work the day through, and cannot satisfy him; and the mother cuckoo is said to come and assist in feeding him at times. How, then, could the cuckoo feed two or three of its offspring and itself at the same time? Several other birds do not build nests—the plover, the fern owl. That is no evidence of lack of intelligence. The cuckoo's difficulty, or one of its difficulties, seems to be in the providing sufficient food for its ravenous young. A half-fledged cuckoo is already a large bird, and needs a bulk of soft food for its support. Three of them would wear out their mother completely, especially if—as may possibly be the case—the male cuckoo will not help in feeding. This is the simplest explanation, I think; yet, as I have often said before, we must not always judge the ways of birds or animals or insects either by strict utility, or by crediting them with semi-supernatural intelligence. They have their fancies, likes and dislikes, and caprices. There are circumstances—perhaps far back in the life-history of their race—of which we know nothing, but which may influence their conduct unconsciously still, just as the crusades have transmitted a mark to our minds to-day. Even though an explanation may satisfy us, it is by no means certain that it is the true one, for they may look at matters in an entirely different manner from what we do. The effect of the cuckoo's course is to cause an immense destruction of insects, and it is really one of the most valuable as well as the most welcome of all our birds.
The thin pipe of the gnat heard at night is often alluded to, half in jest, by our older novelists. It is now, I think, dying out a good deal, and local where it stays. It occurred to me, on seeing some such allusion the other day, that it was six years since I had heard a gnat in a bedroom—never since we left a neighbourhood where there had once been marshy ground. Gnats are, however, less common generally—exclusive, of course, of those places where there is much water. All things are local, insects particularly so. On clay soils the flies in summer are most trying; black flies swarm on the eyes and lips, and in the deep lanes cannot be kept off without a green bough. It requires the utmost patience to stay there to observe anything. In a place where the soil was sand, with much heath, on elevated ground, there was no annoyance from flies. There were crowds of them, but they did not attack human beings. You might sit on a bank in the fields with endless insects passing without being irritated; but everywhere out of doors you must listen for the peculiar low whir of the stoat-fly, who will fill his long grey body with your blood in a very few minutes. This is the tsetse of our woods.
Losses year after year and increasing competition indicate that the crops now grown are not sufficient to support the farmer. When he endeavours, however, to vary his method of culture, and to introduce something new, he is met at the outset by two great difficulties which crush out the possibility of enterprise. The first of these—the extraordinary tithe—has already come into prominent notice; the second is really even more important—it is the deficiency of transit. An extensive use of steam on common roads appears essential to a revival of agricultural prosperity, because without it it is almost impossible for delicate and perishable produce to be quickly and cheaply brought to market. Railways, indeed, now connect nearly every town of any size whatever throughout the country with the large cities or London; but railways are necessarily built as lines of communication between towns, and not in reference to scattered farms. Upon the map the spaces between the various rails do not look very broad, but those white bands when actually examined would be found to be six, eight, ten, or even twenty miles wide. Nor are there stations everywhere, so that a farm which may be only six miles from the metals may be ten from the nearest platform. Goods trains do not, as in the United States, stop to pick up wherever there is material or produce waiting to be loaded; the produce has to be taken where the railway chooses, and not where it would suit the farmer's convenience. When at last the farmer's waggon reaches the station he finds no particular trouble taken to meet his needs; his horse and carters are kept hours and hours, perhaps far into the night, for a mere matter of a ton or two, nor is there any special anxiety shown to deliver his consignment early, though if it should not be moved from the companies' premises demurrage is charged. In short, the railway companies, knowing that the agriculturists until the formation of the 'Farmers' Alliance' were incapable of united action, have used them much as they liked. As for the rates charged, the evidence recently taken, and which is to be continued, shows that they are arbitrary and often excessive. The accommodation is poor in the extreme, the charges high, the speed low, and every condition against the farmer. This, in its turn, drives the farmer more into the hands of the middleman. The latter makes a study of the rail and its awkward ways, and manages to get the goods through, of course adding to their cost when they reach the public. Without the dealer, under present circumstances, the farmer would often find it practically impossible to get to markets not in his immediate neighbourhood. The rail and its awkward, inconvenient ways actually shut him off. In manufacturing districts the transit of iron and minerals and worked-up metal is managed with considerable ability. There are appointed to manage the goods traffic men who are alert to the conditions of modern requirements and quick to meet them. In agricultural districts the question often arises if there be really any responsible local goods managers at all. It seems to be left to men who are little more than labourers, and who cannot understand the patent fact that times are different now from what they were thirty years since, when they first donned their uniforms. The railways may bring their books and any number of their officers to prove that everything is perfectly satisfactory, but the feeling remains, nevertheless, that it is exactly the contrary.
Look at the map, and place the finger on any of the spaces between the lines of rail. Take, then, the case of a farmer in the midst of that space, not more than five or six miles from the metals, and able at times to hear the distant whistle of the engines, but not less than eight from a station. This present season he finds his wheat damaged by the rain after it was cut, and he comes to the conclusion that he must supplement his ordinary crops by some special culture in order to make his way. On the last occasion he was in a large city he was much struck by the quantity of fruit which he found was imported from abroad. The idea naturally occurs to him of setting aside some ten or twenty acres of his holding of four hundred or five hundred for the culture of fruit. He goes to his landlord, who is only too willing to give him every facility, provided that no injury be done to the soil. He faces the monstrous injustice of the extraordinary tithes, and expends fresh capital in the planting of various kinds of fruit.
In places at that distance from a station labour is dear relative to the low profit on the ordinary style of farming, but very cheap relative to the possible profits on an improved and specialised system. The amount of extra labour he thus employs in the preparation of the ground, the planting, cleaning, picking, and packing, is an inestimable boon to the humbler population. Not only men, but women and children can assist at times, and earn enough to add an appreciable degree of comfort to their homes. In itself this is a valuable result. But now suppose our enterprising farmer has the fortune to have a good season, and to see his twenty acres teeming with produce. He sets as many hands on as possible to get it in; but now what is he to do with it? Send it to London. That is easily said; but trace the process through. The goods, perishable and delicate, must first be carted to the railway station and delivered there, eight miles from the farm, at most inconvenient hours. They must be loaded into slow goods trains, which may not reach town for four-and-twenty hours. There is not the slightest effort to accelerate the transit, and the rates are high. By the time the produce reaches the market its gloss and value are diminished, and the cost of transit has eaten away the profit. The thing has been tried over and over again and demonstrated. One need only go to the nearest greengrocer's to obtain practical proof of it. The apples he sells are American. The farmers in New York State or Massachusetts can grow apples, pack them in barrels, despatch them two thousand eight hundred miles to Liverpool, and they can then be scattered all over the country and still sold cheaper than the fruit from English orchards. This is an extraordinary fact, showing the absolute need of speedy and cheap transit to the English farmer if he is to rise again. Of what value is his proximity to the largest city in the world—of what value is it that he is only ninety miles from London, if it costs him more to send his apples about ninety miles than it does his American kinsman very nearly three thousand?
As we have in this country no great natural waterways like the rivers and lakes of the United States, our best resource is evidently to be found in the development of the excellent common roads which traverse the country, and may be said practically to pass every man's door. Upon these a goods train may be run to every farm, and loaded at the gate of the field. This assertion is not too bold. The thing, indeed, is already done in a manner much more difficult to accomplish than that proposed. Traction engines, weighing many tons—so heavy as to sometimes endanger bridges, and drawing two trucks loaded with tons of coal, chalk, bricks, or other materials—have already been seen on the roads, travelling considerable distances, and in no wise impeded by steep gradients; so little, indeed, that they ascend the downs and supply farms situated in the most elevated positions with fuel. What is this but a goods train, and a goods train of the clumsiest, most awkward, and, consequently, unprofitable description? Yet it is run, and it would not be run were it not to some extent useful. Anything more hideous it would be hard to conceive, yet if the world patiently submits to it for the welfare of the agricultural community, what possible objection can there be to engines so formed as to avoid every one of the annoyances caused by it? It may be asserted without the slightest fear of contradiction that there are at least fifty engineering firms in this country who could send forth a road locomotive very nearly noiseless, very nearly smokeless, certainly sparkless, capable of running up and down hill on our smooth and capital roads, perfectly under control, not in the least alarming to horses, and able to draw two or more trucks or passenger cars round all their devious windings at a speed at least equal to that of a moderate trot—say eight miles an hour. Why, then, do we not see such useful road trains running to and fro? Why, indeed? In the first place, progress in this direction is absolutely stopped by the Acts of Parliament regulating agricultural engines. The Act in question was passed at a time when steam was still imperfectly understood. It was in itself a perfectly judicious Act, which ought to be even more strictly enforced than it is. But it was intended solely and wholly for the regulation of those vast and monstrous-looking engines which it was at once foreseen, if left to run wild, would frighten all horse traffic off the roads. The possibility of road locomotives in the reasonable sense of the term was not even in the minds of the framers. Yet, by a singular perversity, this very Act has shut off steam from one of its most legitimate functions.
It is quite possible that the depression of agriculture may have the effect of drawing attention to this subject, and if so it will be but tardy justice to the rest of society that the very calling whose engines now block the roads should thus in the end open them. We should then see goods trains passing every farm and loading at the gate of the field. Such a road goods train would not, of course, run regularly to and fro in the same stereotyped direction, but would call as previously ordered, and make three or four journeys a day, sometimes loading entirely from one farm, sometimes making up a load from several farms in succession. Besides the quick communication thus opened up with the railway station and the larger towns, the farmer would be enabled to work his tenancy with fewer horses. He would get manures, coal, and all other goods delivered for him instead of fetching them. He would get his produce landed for him instead of sending his own teams, men, and boys. In a short time, as the railways began to awaken to the new state of things, they would see the advantage of accommodating their arrangements, and open their yards and sidings to their competitor. In the case of long journeys, and with some kinds of goods, in order to save the cost of transhipment, it would be possible to transfer the bed of the road truck from its frame on to the frame of the railroad truck, so that the goods, with one loading, might pass direct to London. Our American cousins are quite capable of inventing a transferable truck of this kind. In return, goods loaded in London would never leave the same bottom till unloaded at the farmyard or in the midst of the village. For all long journeys the rails would probably always remain the great carriers, and the road trains serve as their most valuable feeders. When farmers found it possible to communicate with the cities at reasonable rates, and at reasonable speed, they would be encouraged to put forth fresh efforts, to plant vegetables, to grow fruit, to supplement their larger crops with every species of lesser produce. This, in its turn, would bring new traffic to the lines; for instead of one or two crops in the year only, there would be three or four requiring carriage. There would be then speedy results of such improved communication. One would be an increased value of land; the second, an increase in the number of small areas occupied and cultivated; the third, an increase in the rural population. A fourth would be that the incredible amount of money which is now annually transferred to the Continent and America for the purchase of every kind of lesser produce would remain in this country to the multiplication of the accounts at Post Office savings banks. Every one who possibly could would grow or fatten something when he could just put it on a road train, and send it off to market.
Two through passenger road trains a day, one in each direction, carrying light parcels as well, and traversing say forty or fifty miles or less, would probably soon obtain sufficient support, as they ran from village to village and market town to market town. At present, those who live in villages are practically denied locomotion unless they are well enough off to keep a horse and trap and a man to look after them. A person residing in a village must either remain in the village, or walk, or go by carrier. The carrier stops at every inn, and takes a day to get over ten miles. The exposure in the carrier's cart has been the cause of serious illness to many and many a poor woman obliged to travel by it, and sit in the wind and rain for hours and hours together. Unless they ride in this vehicle, or tramp on foot, the villagers are simply shut off from the world. They have neither omnibus, tramway, nor train. Those who have not lived in a village have no idea of the isolation possible even in this nineteenth century, and with the telegraph brought to the local post office. The swift message of the electric wire, and the slow transit of the material person—the speed of the written thought, and the slowness of the bodily presence—are in strange contrast.
When people do not move about freely commerce is practically at a standstill. But if two passenger road trains, travelling at an average speed of not more than eight miles an hour, one going up and the other down, and connecting two or more market towns and lines of railway, passed through the village, how different would be the state of things! Ease of transit multiplies business, and, besides passengers, a large amount of light material could thus be conveyed. There would be depôts at the central places, but such trains could stop to pick up travellers at any gate, door, or stile. If the route did not go through every hamlet, it would pass near enough to enable persons to walk to it and join the carriages. No one objects to walk one mile if he can afterwards ride the other ten. Besides these through trains, special trains could run on occasions when numbers of people wanted to go to one spot, such as sheep or cattle fairs and great markets. Large tracts of country look to one town as their central place, not by any means always the nearest market town; to such places, for instance, as Gloucester and Reading, thousands resort in the course of the year from hamlets at a considerable distance. Such road trains as have been described would naturally converge on provincial towns of this kind, and bring them thrice their present trade. Country people only want facilities to travel exactly like city people. It is, indeed, quite possible that when villages thus become accessible many moderately well-to-do people will choose them for their residence, in preference to large towns, for health and cheapness. If any number of such persons took up their residence in villages, the advantage to farmers would of course be that they would have good customers for all minor produce at their doors. It is not too much to say that three parts of England are quite as much in need of opening up as the backwoods of America. When a new railroad track is pushed over prairie and through primeval woods, settlements spring up beside it. When road trains run through remote hamlets those remote hamlets will awake to a new life.
Many country towns of recent years have made superhuman efforts to get the railway to their doors. Some have succeeded, some are still trying; in no case has it been accomplished without an immense expenditure, and for the most part these railroad branches are completely in the control of the main line with which they are connected. In one or two cases progress has been effected by means of tramways, notably one at Wantage—an excellent idea and highly to be commended. All these are signs that by slow degrees matters are tending towards some such scheme as has been here sketched out. While local railroads are extremely expensive, slow in construction, and always dominated by main lines, and while tramways need rails, with the paraphernalia rails require, they have this drawback—they are not flexible. The engines and cars that run upon them must for ever adhere to the track: there may be goods, produce, ricks, cows, fruit, hops, and what not, wanting to be landed only a quarter of a mile distant, but the cars cannot go to the crops. The railroad is rigid, everything must be brought to it. From town to town it answers well, but it cannot suit itself and wind about from village to hamlet, from farm to farm, up hill and down dale. The projected road train is flexible and capable of coming to the crops. It can call at the farmer's door, and wait by the gate of the field for the load. We have lately seen France devote an enormous sum to the laying down of rails in agricultural districts, to the making of canals, and generally to the improvement of internal communication in provinces but thinly populated. The industrious French have recognised that old countries, whose area is limited, can only compete with America, whose area is almost unlimited, by rendering transit easy and cheap. We in England shall ultimately have to apply the same fact.
The most ancient attempt to delineate the objects of sport in existence is, I think, the celebrated engraving of a mammoth on a portion of a mammoth's tusk. I call it an engraving because the figure is marked out with incised lines such as the engraver makes with his tool, and it is perfect enough to print from. If it were inked and properly manipulated it would leave an impression—an artist's proof the most curious and extraordinary in the world, for the block was cut with flint instruments by the Cave-men an incredible number of years ago, perhaps before England was separated from the Continent by the sea, while the two were still connected, and it was dry land where now the
Calais-Douvres
steams so steadily over the waves. But it would be an artist's proof with the lights and shades reversed, the lines that sketch the form of the mammoth would be white and the body dark, yet for all that lifelike, since the undulating indentations that represent the woolly hide of the immense creature would relieve the ground. This picture of a prehistoric animal, drawn by a prehistoric artist, shows that Art arose from the chase. Traced to the den of primeval man, who had no Academy to instruct him, no Ruskin to guide, and no gallery to exhibit in, it appears that Art sprang from nature, and not from science. His life was occupied with the hunt, and he represented that which filled his thoughts. Those who understand wild sports will not for a moment doubt that the mammoth was taken in pits or otherwise destroyed despite its huge strength; no matter if it had been twice as large, the cunning of man would have been equal to the difficulty. The mind is the arrow that slays the monster. The greater the danger the greater the interest, and consequently the more the imagination would dwell upon the circumstances of the chase. Afterwards resting in the cave round about the fire and thinking of the mighty work of sport which had been accomplished, the finger of the savage would involuntarily describe the outline of the creature so laboriously captured. His finger might describe it upon the scattered ashes whitening the ground beside him. Or it might describe the outline simply in the air. Speech in its inception was as much expressed by the finger as the tongue; perhaps the fingers talked before the mouth, and in a sense writing preceded language. Uttering the unpolished sound which in their primitive society indicated the mammoth, the savage drew rapidly a figure with his finger, and his companions read his meaning written in the air. To this day it is common for the Italian peasantry to talk with their fingers; a few syllables suffice, illustrated and emphasised by those dexterous hands. A more subtle meaning is thus conveyed than could be put in words. Some of the most ancient languages seem bald and incomplete, too rigid; they need intonation, as it were, to express passion or changes of emotion, and when written the letters are too far apart to indicate what is meant. Not too far apart upon the page, but far apart in their sense, which has to be supplied as you supply the vowels. In actual use such languages must have required much gesture and finger-sketching in the air. The letters of the Egyptians largely consist of animals and birds, which represent both sounds and ideas. Dreaming over the embers of his fire, the Cave-man saw pass before his mental vision all the circumstances of the chase, ending with the crash when the mammoth crushed into the pit, at which he would start and partially awake. Intentness of mind upon a pursuit causes an equivalent intentness of dream, and thus wild races believe their dreams to be real and substantial things, and not mere shadows of the night. To those who do not read or write much, even in our days, dreams are much more real than to those who are continuously exercising the imagination. If you use your imagination all day you will not fear it at night. Since I have been occupied with literature my dreams have lost all vividness and are less real than the shadows of trees, they do not deceive me even in my sleep. At every hour of the day I am accustomed to call up figures at will before my eyes, which stand out well defined and coloured to the very hue of their faces. If I see these or have disturbed visions during the night they do not affect me in the least. The less literary a people the more they believe in dreams; the disappearance of superstition is not due to the cultivation of reason or the spread of knowledge, but purely to the mechanical effect of reading, which so perpetually puts figures and aërial shapes before the mental gaze that in time those that occur naturally are thought no more of than those conjured into existence by a book. It is in far-away country places, where people read very little, that they see phantoms and consult the oracles of fate. Their dreams are real.
The mammoth came through his cave before the embers of his fire—the sleeping savage could touch it with his flint-headed spear—there was the crash as it fell into the prepared pit; he awakes, the dying embers cast shadows on the walls, and in these he traces the shape of the vast creature hastening away. The passing spirit has puffed the charred brands into a second's flame, and thus shadowed itself in the hollow of the cavern.
Deeper than the excitement of the chase lies that inner consciousness which dwells upon and questions itself—the soul of the Cave-man pondered upon itself; the question came to him, as he crouched in the semi-darkness, over the fire which he had stirred, 'Will my form and aërial shadow live on after my death like that which passed but now? Shall I, too, be a living dream?' The reply was, 'Yes, I shall continue to be; I shall start forth from my burial-mound upon the chase in the shadow-land just as now I start forth from my cave. I shall entrap the giant woolly elephant—I shall rejoice at his capture; we shall triumph yet again and again. Let then my spear and knife be buried with me, but chip them first—kill them—that I may use their spirit likenesses in the dream-chase.'
With a keen-edged splinter of flint in the daylight he incised the outlines of the mammoth upon a smooth portion of its tusk—its image was associated with his thoughts of a future life, and thus Art in its earliest inception represented the highest aspirations of man.
But could the ignorant savage of that long-lost day have been capable of such work? The lowest race of savages in Southern Africa—the Bushmen—go about with festoons of entrails wound around their loins. After a successful hunt—with the pit or poisoned arrows—they remove the entrails of the slain animal and wear them like coronals for present ornament and future regalement. These creatures are nevertheless artists. On the walls of caves they have painted the antelope and the lion in bright colours; they have not only caught the shape and hue of the animals about them, but their action and movement. The figures are in motion, skilfully drawn and full of spirit.
If any one asks, is the application of Art to the chase really so old, so very very old, as this? I refer them to the stars. How long ago is it since the constellations received their names? At what date were they first arranged in groups? Upon the most ancient monuments and in the most ancient writings they have the same forms assigned to them as at this day, and that too in countries remote from each other. The signs of the Zodiac are almost as old as the stars themselves; that is, as old as the time when the stars were first beheld of human eyes. Amongst them there is the Archer—Sagittarius—the chase in the shape of man; greatest and grandest of all the constellations is Orion, the mighty hunter, the giant who slew the wild beasts by strength. There is no assemblage of stars so brilliant as those which compose the outline of Orion; the Hunter takes the first place in the heavens. Art exists in the imagination—imagination drew lines from star to star, and repeated its life on earth in the sky.
So it is true that the first picture—whether drawn by the imagination alone in the constellations, on the walls of the cave with ochre and similar materials, or engraved with keen splinters of flint on the mammoth's tusk—the first picture was of the chase. Animals are earliest, the human form next, flowers and designs and stories in drawings next, and landscape last of all. Landscape is peculiarly the art of the moderns—it is the art ofourcivilisation; no other civilisation seems to have cared for it. Towers and castles are indeed seen on the bas-reliefs of Assyria, and waving lines indicate rivers, but these are merely subsidiary, and to give place and locality to the victories the king is achieving. The battle is the interest, the landscape merely the stage. Till the latter days of European life the artist took no notice of landscape.
The painting of hills and rocks and rivers, woods and fields, is of recent date, and even in these scenes the artist finds it necessary to place some animals or birds. Even now he cannot ignore the strong love of human beings for these creatures; if they are omitted the picture loses its interest to the majority of eyes. Every one knows how wonderfully popular the works of Landseer have been, and he was an animal painter, and his subjects chiefly suggested by sport. The same spirit that inspired the Cave-dweller to engrave the mammoth on the slab of ivory still lives in the hearts of men.
There is a beautiful etching of "The Poacher" (to which I shall have to recur); he is in the wood, and his dog is watching his upraised finger. From that finger the dog learns everything. He knows by its motion when to start, which way to go, what to do, whether to be quick or slow, to return or to remain away. He understands his master quite as well as if they conversed in human speech. He enters into the spirit of the enterprise. 'If you want your business done, go; if not, send' is true only of men. The poacher wants his business done, and he sends his agent—his dog—certain that it will be done for him better than he could do it himself. The dog is conscientious, he will omit nothing, he will act as if his master's eye was on him the whole time. Now this attitude of the dog's mind is so exquisitely rendered in the picture that he seems verily to speak with intelligence. I love that dog though he does but exist in ink; he is the true image of a real dog, and his mind shines through his body. This effect upon me as the spectator is produced by a clever arrangement of lines upon the plate from which the etching was printed, thin lines cut into the copper with curious sharp tools, behind a screen of tissue-paper to shield the eyes from the light, done in the calm of the studio, thoughtfully, with artistic skill. Given the original genius to conceive such a dog, the knowledge how to express the ideas, and the tools to work with, and we see how it became possible to execute the etching. But suppose the artist supplied with a piece of smooth ivory for his plate, and a sharp penknife for his etching needle, and set behind a boulder to watch the mammoth and sketch it by incision on the ivory, and there would be produced very much the same kind of picture as the Cave-man made. It could not have the delicate shading, the fine edge, the completion and finish of the dog; it could not visibly think as that dog thinks. It would consist of a few quick strong dashes, conveying the weight and force and image of the elephant in as few strokes as possible. It would be a charcoal sketch; broad and powerful lines that do not themselves delineate, but compel your imagination to do the picture in your mind, so that you see a great deal more than is drawn. So that the Cave-man was really a great artist—his intense interest in the chase supplied the lack of academics and scientific knowledge and galleries to copy from. This primeval picture thus tells you that the highly educated artist of the present day, removed from his accessories, away from his liquid colours, easels, canvas, prepared paper, and so frith, can only do what the Cave-man did. But still further, he can only do that if he possesses great natural genius—only a man who could draw the poacher's dog could do it. Those who depend altogether on the prepared paper and liquid colours, patent easel and sketching stool, could simply do nothing.
It is nearly certain that if the primeval man sketched the mammoth he likewise carved his spear-shaft, the haft of his knife, the handle of his 'celt,' that chisel-like weapon whose shape so closely resembles the front teeth. The 'celt' is a front tooth in flint or bronze, enlarged and fitted to a handle for chipping, splitting, and general work. In museums celts are sometimes fitted to a handle to show how they were used, but the modern adapter has always overlooked the carving. Wild races whose time is spent in sport or war—very nearly synonymous terms—always carve or ornament their weapons, their canoes, the lintels of their doors, the posts of their huts. There is in this the most singular difference from the ways of landscape civilisation. Things that we use are seldom ornamented—our tables, our chairs, our houses, our carriages, our everything is as plain as plain can be. Or if ornamented, it is ornamented in a manner that seems to bear no kind of relation to the article or its uses, and to rouse no sympathies whatever. For instance, our plates—some have the willow pattern, some designs of blackberry bushes, and I really cannot see what possible connection the bushes or the Chinese summerhouses have with the roast beef of old England or thecôtelletteof France. The last relic of Art carving is visible round about a bread platter, here and there wreaths of wheatears; very suitable these to a platter bearing bread formed of corn. Alas! I touched one of these platters one day to feel the grain of the wood, and it was cold earthenware—cold, ungenial, repellent crockery, a mockery, sham! Now the original wooden platter was, I think, true Art, and the crockery copy is not Art. The primeval savage, without doubt, laboriously cut out a design, or at least gave some curve and shape to the handle of his celt or the shaft of his spear, and the savages at this clay as laboriously carve their canoes. The English sportsman, however, does not cut, or carve, or in any way shape his gun-stock to his imagination. The stock is as smooth and as plain as polished wood can be. There is a sort of speckling on the barrels, and there is a conventional design on the lock-plate; conventional, indeed, in the mostblasésense of the word—quiteblaséand worn out, this scratch of intertwisted lines, not so much as a pheasant even engraved on the lock-plate; it is a mere killing machine, this gun, and there is no Art, thought or love of nature about it. Sometimes the hammers are filed, little notches crossing, and there imagination stops. The workman can get no farther than his file will go, and you know how that acts to and fro in a straight groove. A pheasant or hare at full speed, a few trees—firs as most characteristic—could be put on the plate, and something else on the trigger guard; firs are easily drawn, and make most appearance for a few touches; pheasants roost in them. Even a coat of arms, if it were the genuine coat-of-arms of the owner's family, would look well. Men have their book-plates and stamp their library volumes, why not a gun design? As many sportsmen scarcely see their guns for three-fourths of the year, it is possible to understand that the gun becomes a killing machine merely to them, to be snatched up and thrown aside the instant its office is over. But the gamekeeper carries his gun the year through, and sits in the room with it when indoors, still he never even so much as scratches an outline of his favourite dog on it. In these landscape days we put our pictures on the walls only, and no imagination into the things we handle and use. A good deal of etching might be done on a gun, most of it being metal, while more metal could be easily inlaid for the purpose. Etching, I suppose, is the right word; at all events, designs, records of actual sporting feats, or outlines of favourite sporting places—nooks in the woods, falls of the stream, deep combes of the hills—could be cut in with aquafortis. So many draw or paint nowadays, and in this manner they could make some use of their skill, drawing perhaps for those who only understand the use of cartridge-paper when it has gunpowder inside it. Sportsmen see the very best of scenery, and come across old hollow trunks and curious trees, effects, and 'bits' of every kind, from a twisted hawthorn to an antlered stag; if they could get an artistic friend to see these, there would be some good gun-etchings done.
'Perfectly lovely!' 'Such pretty colours!' 'So neat; isn't it wonderful how the little things do it with their beaks?' 'The colours are so arranged as to conceal it; the instinct is marvellous;' and so on. These comments were passed on a picture of a bird's nest—rather a favourite subject with amateur painters. The nest was represented among grass, and was tilted aside so as to exhibit the eggs, which would have rolled out had they been real. It was composed of bright-green moss with flowers intertwined, and tall bluebells, rising out of the grass, overhung it. Nothing could be more poetical. In reality, the flowers—if ever actually used by a bird—would have faded in a day, and the moss would never have had so brilliant and metallic a tint. The painter had selected the loveliest colours of the mead and gathered them into a bouquet, with the nest in the centre. This is not exactly like nature: a robin's nest for instance, the other day was discovered in an old shoe, discarded by a tramp and thrown over the wall into the shrubbery. Nests are not always made where flowers grow thickest, and birds have the oddest way of placing them—a way which quite defeats rational search. After looking into every nook, and places where if built a nest would be hidden from passers-by, suddenly it is found right in front of you and open to view. You have attributed so much cunning to the bird that you have deceived yourself. In fact, it sometimes happens that the biggest fool is the best bird's-nester, and luck in eggs falls to those who have no theory. But December throws doubt even on the fool's capacity, for as the leaves fall there appear nests by the dozen in places never suspected, and close to people's faces. For one that has been taken ten have escaped.
The defect of nest-building lies in the absence of protection for the young birds. When they grow large and feel strong they bubble, as it were, over the edge of the cup-shaped nest. Their wings, though not yet full-grown, save them from injury in descent by spreading out like a parachute, but are powerless to assist them after reaching the ground. In the grass they are the prey of rooks, crows, magpies, jackdaws, snakes, rats, and cats. They have no means of escape whatever: they cannot fly nor run—the tall grass stops running—and are frequently killed for amusement by their enemies, who do not care to eat them. Numbers die from exposure in the wet grass, or during rain, for they are not able to fly up and perch on a branch. The nest requires a structure round it like a cage, so that the fledglings might be prevented from leaving it till better able to save themselves. Those who go to South Kensington to look at the bird's-nest collection there should think of this if they hear any one discoursing on infallible instinct on the one hand, or evolution on the other. These two theories, the infallible instinct and that of evolution, practically represent the great opposing lines of thought—the traditional and the scientific. An examination of birds' nests, if conducted free of prejudice, will convince any independent person neither that the one nor the other explains these common hedge difficulties. Infallible instinct has not supplied protection for the young birds, nor has the experience of hundreds of years of nest-building taught the chaffinch or the missel-thrush to give its offspring a fair start in the famous 'struggle for existence.' Boys who want linnets or goldfinches watch till the young are almost ready to bubble over, and then place them in a cage where the old birds come and feed them. There is, then, no reason why the nest itself should not be designed for the safety of the fledgling as well as of the egg. Birds that nest in holes are frequently very prolific, notably the starling, which rears its brood by thousands in the hollow trees of forests. Though not altogether, in part their vast numbers appear due to the fact that their fledglings escape decimation.
Country boys set some value on the eggs of the nettle-creeper or whitethroat because the nest is difficult to find, and the eggs curiously marked. They want the eggs as soon as laid, when they blow well; and it is just at this stage that the nest is most difficult to discover, as the bird gives little evidence of its presence. The nest is placed among the thick grasses and plants that grow at the verge or down the sides of dry ditches, and is frequently overshadowed by nettles. But there does not appear to be any conscious effort at concealment. The bird spends the day searching for food in such places—hence its name nettle-creeper—creeping along the hedges, under brambles and thorns, and builds its nest in the locality to which it is accustomed. It may appear to be cunning to a superficial human observer, but it is certain that the bird does not think itself cunning. Men who live by fishing build their houses near the sea; those who cultivate wheat, in open plains; artisans, by factories. The whitethroat frequents the hedge and ditch, and there weaves its slender nest. So much has been attributed to birds of which they are really quite unconscious. It has even been put forward that the colours of their eggs are intended to deceive; and those of the dotterel, laid on the open beach, are often mentioned as an instance. The resemblance of the dotterel's egg to a pebble is no greater than the resemblance between many eggs laid in nests and pebbles. If the whitethroat eggs were taken from the nest and placed among particoloured pebbles such as are common on some shores, it would need care to distinguish them. If the dotterel's eggs were put down among grass, or even among the clods of ploughed land, they would be equally difficult to find. You might as well suppose that the whitethroat is aware that nettles will sting the human hand approaching its nest as that eggs are especially adjusted in colour to deceive human eyes. As for deceiving the eyes of those birds that are fond of eating eggs, the thing is impossible; the size of the egg is alone sufficient: how conceal an object of that size from an eye that can distinguish insects? The egg takes its chance, coloured or not. Sportsmen would be very glad if pheasants would kindly learn by experience, and lay eggs of a hue invisible to the poaching rook or crow. Nor is this nest, that seems so slender and so delicately made, really so slender to the bird itself. To a man or woman, so many times larger than the nest, its construction appears intricate. Suppose a lady stands five feet four inches high, and the nest placed in her hand measures two inches across: the difference is immense. The bird who built it is smaller than the nest. The thing is reversed, and it does not look tiny to the bird. The horsehair or fibre, which to us is an inch or two long, to the bird is a bamboo or cane three or four feet in length. No one would consider it difficult to weave cane or willow wands as tall as himself. The girls at Luton perform much more difficult feats in weaving straw-plait for bonnets than any bird accomplishes. A rook's nest looked at in the same way is about as large to the bird as a small breakfast-parlour, and is composed of poles. To understand birds you must try and see things as they see them, not as you see them. They are quite oblivious of your sentiments or ideas, and their actions have no relation to yours. A whole system of sentiment and conduct has been invented for birds and animals based entirely upon the singular method of attributing to them plans which might occur to a human being. The long-tailed tit often builds its nest in the midst of blackthorn thickets (which afford it the lichen it uses), or in deep hawthorn bushes. A man comes along, sees the nest, and after considerable exertion—having to thrust himself into the hedge—and after some pain, being pricked by the thorns, succeeds, with bleeding hands, in obtaining possession of it. 'Ah,' he moralises, 'what wonderful instinct on the part of this little creature to surround itself with a zareba like the troops after Osman Digma! Just look at my hands.' Proof positive to him; but not to any one who considers that through the winter, up till nesting-time, these little creatures have been creeping about such thorns and thickets, and that they had no expectation whatever of a hand being thrust into the bushes. The spot which is so difficult of access to a man is to them easy of entrance. They look at the matter from the very opposite point of view. The more thoroughly the artificial system of natural history ethics is dismissed from the mind the more interesting wild creatures will be found, because while it is adhered to a veil is held before the eyes, and nothing useful can ever be discovered. Put it aside, and there is always something new and as interesting as a fresh nest to a boy.
Turning to the left on entering the Louvre, I found myself at once among the sculpture, which is on the ground-floor. Except that the Venus of Milo was in the collection, I had no knowledge of what I was about to see, but stepped into an unknown world of statuary. Somewhat indifferently I glanced up and then down, and instantly my coolness was succeeded by delight, for there, in the centre of the gallery, was a statue in the sense in which I understand the word—the beautiful made tangible in human form. I said at once, 'That ismystatue. There lies all Paris for me; I shall find nothing further.' I was then at least thirty yards distant, with the view partly broken, but it was impossible to doubt or question lines such as those. On a gradual approach the limbs become more defined, and the torso grows, and becomes more and more human—this is one of the remarkable circumstances connected with the statue. There is life in the wide hips, chest, and shoulders; so marvellous is the illusion that not only the parts that remain appear animated, but the imagination restores the missing and mutilated pieces, and the statue seems entire. I did not see that the hand was missing and the arms gone; the idea of form suggested by the existing portions was carried on over these, and filled the vacant places.
Going nearer, the large hips grow from stone to life, the deep folds of the lower torso have but this moment been formed as she stooped, and the impulse is to extend the hands to welcome this beautiful embodiment of loving kindness. There, in full existence, visible, tangible, seems to be all that the heart has imagined of the deepest and highest emotions. She stoops to please the children, that they may climb her back; the whole of her body speaks the dearest, the purest love. To extend the hands towards her is so natural, it is difficult to avoid actually doing so. Hers is not the polished beauty of the Venus de Medici, whose very fingers have no joints. The typical Venus is fined down from the full growth of human shape to fit the artist's conception of what beauty should be. Her frame is rounded; her limbs are rounded; her neck is rounded; the least possible appearance of fulness is removed; any line that is not in exact accordance with a strict canon is worked out—in short, an ideal is produced, but humanity is obliterated. Something of the too rounded is found in it—a figure so polished has an air of the bath and of the mirror, of luxury; it istoofeminine; it obviously has a price payable in gold. But here is a woman perfect as a woman, with the love of children in her breast, her back bent for their delight. An ideal indeed, but real and human. Her form has its full growth of wide hips, deep torso, broad shoulders. Nothing has been repressed or fined down to a canon of art or luxury. A heart beats within her bosom; she is love; with her neither gold nor applause has anything to do; she thinks of the children. In that length of back and width of chest, in that strong torso, there is just the least trace of manliness. She is not all, not too feminine; with all her tenderness, she can think and act as nobly as a man.
Absorbed in the contemplation of her beauty, I did not for some time think of inquiring into material particulars. But there is a tablet on the pedestal which tells all that is known. This statue is called the 'Venus Accroupie,' or Stooping Venus, and was found at Vienne, France. The term 'Venus' is conventional, merely to indicate a female form of remarkable beauty, for there is nothing in the figure to answer to what one usually understands as the attributes of the goddess. It is simply a woman stooping to take a child pick-a-back, the child's little hand remaining upon the back, just as it was placed, in the act of clinging. Both arms are missing, and there appears to be some dispute as to the exact way in which they were bent across the body. The right arm looks as if it had passed partly under the left breast, the fingers resting on the left knee, which is raised; while the left arm was uplifted to maintain the balance. The shoulders are massive rather than broad, and do not overshadow the width of the hips. The right knee is rounded, because it is bent; the left knee less so, because raised. Bending the right knee has the effect of slightly widening the right thigh. The right knee is very noble, bold in its slow curve, strong and beautiful.
Known of course to students, this wonderful work seems quite overlooked by the mass of visitors to the Louvre, and its fame has not spread. Few have even heard its name, for it has not been written and lectured into the popular mind like the Venus de Medici. While I was studying it several hundred visitors went straight past, without so much as a casual glance, on their way direct to the Venus of Milo, of which they had read in their guide-books, and of which they had seen splendid photographs in every window. One came along, on the contrary, very slowly, carefully examining the inscriptions upon the altars and various figures; he appeared to understand the Latin and Greek, and it might have been expected that he would stay to look at the Accroupie. He did not; he worked all round the statue, reading every word legible on the base of the insignificant figures against the wall, and so onwards down thesalon. One of the most complete of the guide-books dismisses the Accroupie in a single line, so it is not surprising that people do not seek it. But what is surprising is that in a city so artistic as Paris there should be so few photographs of this statue. I could get but two—these were duplicates, and were all the proprietor of the shop possessed; there was some trouble to find them. I was told that, as they were so seldom asked for, copies were not kept, and that there was only this one particular view—a very bad one. Other shops had none. The Venus of Milo is in every shop—in every size, and from every point of view; of the Accroupie these two poor representations were hunted out from the bottom of a portfolio. Of course, these remarks apply only to Paris as the public know it; doubtless the studios have the Accroupie, and could supply representations of every kind: casts, too, can be obtained at the Louvre. But to those who, like myself, wander in the outer darkness of common barbarian life, the Accroupie is unknown till we happily chance upon it. Possibly the reason may be that this statue infinitely surpasses those fixed ideals of art which the studios have for so many centuries resolutely forced upon the world. It seems that after a certain length of art study the natural eyesight is lost. But I hope and believe there are thousands of people in the world in full possession of their natural eyesight, and capable of appreciating the Accroupie when once their attention is called to it.
I knew it was useless to search further among the galleries of the Louvre, for there could not be two such works in existence anywhere, much less in one collection. Therefore I did not go a step beyond, but sat down to enjoy it, and when I had gazed enough for one morning I turned to leave the place. There are never two works of equal beauty of any kind, just as there are never two moments of equal pleasure: seize the one you have, and make much of it, for such a moment will never return. In walking away I frequently looked back—first at three or four yards', then at ten yards' distance; gradually the proportions diminished, but the great sweep of outline retained its power. At about thirty yards it is remarkable how this noble work entirely overshadows the numerous figures close to it. Upon each side of the gallery the wall is lined with ranks of statuary, but they are quite lost as statuary, and seem nothing more than wall decorations, merely curious castings put there to conceal the monotony of the surface. Cleverly executed they may be, but there is no other merit, and they appear commonplace. They have no meaning; the eye glances along them without emotion. It always returns to, and rests upon, the Accroupie—the living and the beautiful. Here is the difference between genius and talent. Talent has lined the walls with a hundred clever things, and could line miles of surface; genius gives us but one example, and the clever things are silenced. Here is the difference between that which expresses a noble idea, and that which is dexterously conventional. The one single idea dominates the whole. Here is the difference, again, between the secret of the heart, the aspiration of the soul, and that which is only the workmanship of a studio ancient or modern. The Accroupie is human, loving tender; how poor are goddesses beside her! At forty, fifty, sixty yards, still looking back, though the details now disappeared, the wonderful outline of the torso and hips was as powerful as ever. Ascending the steps which lead from the gallery I paused once more, standing close against the wall, for other figures interfere with a distant view, and even at that distance (eighty yards or more) the same beauty was recognisable. Yet there is no extended arm, no attitude to force attention—nothing but the torso is visible; there is no artificial background (as with the Venus of Milo) to throw it into relief; the figure crouches, and the love expressed in the action is conveyed by the marvel of the work as far as it can be seen.
Returning next morning I took the passage on the left (not as before on the right), and so came at once to the top of the steps, and to a spot whence a view can with little trouble be obtained. Perhaps it is more than eighty yards away, but the effect is the same despite the distance. The very best place to view the statue is exactly in front of it, two or three yards away, or as close as you like, but precisely in front. It requires no careful choice of position so as to give a limb more prominence, or render the light more effective (the light just there is bad, though it is near a window). The sculptor did not rely upon 'artistic' and selected attitudes—something made up for the occasion. No meretricious aid whatever has been called in—no trick, no illusion of the eye, nothing theatrical. He relied solely and simply upon a true representation of the human body—the torso, the body itself—as he really saw it in life. When we consider that the lines of the body seen in front are gentle, and in no way prominent, it is apparent how beautiful the original must have been, and how wonderfully the form has been rendered in marble for this to be the best position to view it.
Three large folds, marked by deep lines, cross the lower part of the torso, and it is these creases that give the work its life. They are but just made in stooping, and will disappear as she rises from that position. These three grooves cross the entire front of the torso; the centre one is forked at its extremity near the right hip, and the fork of this groove encloses a smaller crease. Immediately under the right breast there is a short separate groove caused by the body leaning to the right; this is a fold of the side, not of the front. Under these folds there must be breath, there must be blood; they indicate a glowing life. The immense vitality of the form appears in them, and even as an athlete's muscles are exhibited in relief at his exercises, so exceeding strength of life is evident in these grooves. A heart throbbing steadily and strong, veins full of rich, pure blood, a warm touch, an eager wish to be affectionate, and self lost in the desire to love—this is the expression of the folds. Full of the energy of exceptional vitality, she gladly gives that energy for the delight of the little one.
There are no grooves on the torso of the Venus de Medici or of the Venus of Cnidus; they are sculptured in attitudes chosen to allow of the body and the limbs presenting an unbroken smoothness. They have the roundness of the polished column. They are ideals, but do not live. Here the deep grooves and the large folds are life.
As we move slowly around the statue from left to right, after observing it in front, the right breast gradually advances, and its outline appears. The act of stooping and leaning to one side causes the right breast to be lower than the left. By degrees the right breast recedes and the left advances, and, standing at the full left of the figure, there are three chief lines to notice—that of the back seen in profile, of the torso, and of the left thigh. The thigh is raised, and, so stretched, seems slightly compressed near the knee. It is more rotund than thick or heavy; it is not so much size as roundness; it is not mere plumpness, but form.
A step farther and the back begins to appear, and the outline of its right edge. Standing exactly at the back, there is a remarkable flatness at the lower end of the mesial groove. This flatness is somewhat in the shape of an elongated diamond; it is rather below the loins, and is, I think, caused by the commencement or upper part of the pelvis. In stooping and at the same time leaning to one side, the flesh at this spot is drawn tightly against the firm structure under the skin, so that the flatness is almost, if not quite, hollow. Had the sculptor been representing a goddess he would have concealed this flatness in some way or other, or selected a position which did not cause it, for the conventional art—beauty must be equally rounded everywhere. Had he been poorer in conception he would have slurred it over, or not even observed it. The presence of this flatness or slightly hollow surface demonstrates how true the work is to reality. The statue is a personality, a living thing. As the line of the horizon recedes at sea, and that which now appears the edge or boundary is presently sailed over, so the edge or outline of the body recedes as you move around it. Another step, and the right thigh and the right breast are in sight, with the ends of the grooves. Lines that look almost straight are changed, as you approach, into curves. The action of the limbs is most apparent when viewed from the right side of the statue; but its most beautiful aspect is exactly in front. In moving round, it is very striking to observe how the least change of position—if you do but move an inch—alters the outline and curve of the work; the breast, not visible before, is now apparent as the bust rises; another inch and it becomes a demi-lune, till it swells to its full undulation. At every step the figure alters, but no matter at how many angles it is looked at, it always has beautiful curves. They adapt themselves, these curves, to the position of the eye, and wherever the eye is placed they satisfy its demands for beauty. Examine any part, and it is found perfect; for instance, the inside of the right knee (visible from the left of the statue) slightly bulges, being pressed out by the stooping position.
At a third visit it seemed to me that the statue had grown much more beautiful in the few days which had elapsed since I first saw it. Pondering upon the causes of this increasing interest, I began to see that one reason was because it recalled to my memory the loveliness of nature. Old days which I had spent wandering among deep meadows and by green woods came back to me. In such days the fancy had often occurred to me that, besides the loveliness of leaves and flowers, there must be some secret influence drawing me on as a hand might beckon. The light and colour suspended in the summer atmosphere, as colour is in stained but translucent glass, were to me always on the point of becoming tangible in some beautiful form. The hovering lines and shape never became sufficiently defined for me to know what form it could be, yet the colours and the light meant something which I was not able to fix. I was now sitting in a gallery of stone, with cold marbles, cold floors, cold light from the windows. Without there were only houses, the city of Paris—a city above all other cities farthest from woods and meads. Here, nevertheless, there came back to me this old thought born in the midst of flowers and wind-rustled leaves, and I saw that with it the statue before me was in concord. The living original of this work was the human impersonation of the secret influence which had beckoned me on in the forest and by running streams. She expressed in loveliness of form the colour and light of sunny days; she expressed the deep aspiring desire of the soul for the perfection of the frame in which it is encased, for the perfection of its own existence.
The sun rolls on in the far dome of heaven, and now day and now night sweeps with alternate bands over the surface of hill, and wood, and sea; the sea beats in endless waves, which first began to undulate a thousand thousand years ago, starting from the other rim of Time; the green leaves repeat the beauty that gladdened man in ancient days. But for themselves they are, and not for us. Their glory fills the mind with rapture but for a while, and it learns that they are, like carven idols, wholly careless and indifferent to our fate. Then is the valley incomplete, and the void sad! Its hills speak of death as well as of life, and we know that for man there is nothing on earth really but man; the human species owns and possesses nothing but its species. When I saw this I turned with threefold concentration of desire and love towards that expression of hope which is called beauty, such as is worked in marble here. For I think beauty is truthfully an expression of hope, and that is why it is so enthralling—because while the heart is absorbed in its contemplation, unconscious but powerful hope is filling the breast. So powerful is it as to banish for the time all care, and to make this life seem the life of the immortals.
Returning the next morning, my thoughts went on, and found that this ideal of nature required of us something beyond good. The conception of moral good did not satisfy one while contemplating it. The highest form known to us at present is pure unselfishness, the doing of good, not for any reward, now or hereafter, nor for the completion of an imaginary scheme. This is the best we know. But how unsatisfactory! Filled with the aspirations called forth by the ideal before me, it appeared as if even the saving of life is a little work compared to what the heart would like to do. An outlet is needed more fully satisfying to its inmost desires than is afforded by any labour of self-abnegation. It must be something in accord with the perception of beauty and of an ideal. Personal virtue is not enough. The works called good are dry and jejune, soon consummated, often of questionable value, and leaving behind them when finished a sense of vacuity. You give a sum of money to a good object and walk away, but it does not satisfy the craving of the heart. You deny yourself pleasure to sit by the bedside of an invalid—a good deed; but when it is done there remains an emptiness of the soul. It is not enough—it is casuistry to say that it is. I often think the reason the world is so cold and selfish, so stolid and indifferent, is because it has never yet been shown how to be anything else. Listening to the prophets of all times and climes, it has heard them proclaim their ordinances, and has seen these observances punctually obeyed for hundreds of years, and nothing has come of it all. To-day it listens to the prophets of humanity, and it sees much real benevolence actually carried out. But the result is infinitesimal. Nothing comes of it; it does not satisfy the individual heart. The world at large continues untouched and indifferent—first because its common sense is not convinced, and secondly because its secret aspirations are in no degree satisfied. So that it is not altogether the world's fault if it is stolid. Everything has been tried and found wanting, Men rushed in crowds to the gold-diggings of California, to the Australian 'finds;' and in like manner, if any real spiritual or ideal good were proffered, crowds would rush to participate in it. Nothing yet has been given but empty words, and these so-called 'goods' have proved as tasteless, and as much Dead Sea apples, as the apples of vice; perhaps even more bitter than the regrets of vice. Though I cannot name the ideal good, it seems to me that it will be in some way closely associated with the ideal beauty of nature.
The brown Barle River running over red rocks aslant its course is pushed aside, and races round curving slopes. The first shoot of the rapid is smooth and polished like a gem by the lapidary's art, rounded and smooth as a fragment of torso, and this convex undulation maintains a solid outline. Then the following scoop under is furrowed as if ploughed across, and the ridge of each furrow, where the particles move a little less swiftly than in the hollow of the groove, falls backwards as foam blown from a wave. At the foot of the furrowed decline the current rises over a rock in a broad white sheet—white because as it is dashed to pieces the air mingles with it. After this furious haste the stream does but just overtake those bubbles which have been carried along on another division of the water flowing steadily but straight. Sometimes there are two streams like this between the same banks, sometimes three or even more, each running at a different rate, and each gliding above a floor differently inclined. The surface of each of these streams slopes in a separate direction, and though under the same light they reflect it at varying angles. The river is animated and alive, rushing here, gliding there, foaming yonder; its separate and yet component parallels striving together, and talking loudly in incomplete sentences. Those rivers that move through midland meads present a broad, calm surface, at the same level from side to side; they flow without sound, and if you stood behind a thick hedge you would not know that a river was near. They dream along the meads, toying with their forget-me-nots, too idle even to make love to their flowers vigorously. The brown Barle enjoys his life, and splashes in the sunshine like boys bathing—like them he is sunburnt and brown. He throws the wanton spray over the ferns that bow and bend as the cool breeze his current brings sways them in the shade. He laughs and talks, and sings louder than the wind in his woods.
Here is a pool by the bank under an ash—a deep green pool inclosed by massive rocks, which the stream has to brim over. The water is green—or is it the ferns, and the moss, and the oaks, and the pale ash reflected? This rock has a purple tint, dotted with moss spots almost black; the green water laps at the purple stone, and there is one place where a thin line of scarlet is visible, though I do not know what causes it. Another stone the spray does not touch has been dried to a bright white by the sun. Inclosed, the green water slowly swirls round till it finds crevices, and slips through. A few paces farther up there is a red rapid—reddened stones, and reddened growths beneath the water, a light that lets the red hues overcome the others—a wild rush of crowded waters rotating as they go, shrill voices calling. This next bend upwards dazzles the eyes, for every inclined surface and striving parallel, every swirl, and bubble, and eddy, and rush around a rock chances to reflect the sunlight. Not one long pathway of quiet sheen, such as stretches across a rippled lake, each wavelet throwing back its ray in just proportion, but a hundred separate mirrors vibrating, each inclined at a different angle, each casting a tremulous flash into the face. The eyelids involuntarily droop to shield the gaze from a hundred arrows; they are too strong—nothing can be distinguished but a woven surface of brilliance, a mesh of light, under which the water runs, itself invisible. I will go back to the deep green pool, and walking now with the sun behind, how the river has changed!
Soft, cool shadows reach over it, which I did not see before; green surfaces are calm under trees; the rocks are less hard; the stream runs more gently, and the oaks come down nearer; the delicious sound of the rushing water almost quenches my thirst. My eyes have less work to do to meet the changing features of the current which now seems smooth as my glance accompanies its movement. The sky, which was not noticed before, now appears reaching in rich azure across the deep hollow, from the oaks on one side to the oaks on the other. These woods, which cover the steep and rocky walls of the gorge from river to summit, are filled with the June colour of oak. It is not green, nor russet, nor yellow; I think it may be called a glow of yellow under green. It is warmer than green; the glow is not on the outer leaves, but comes up beneath from the depth of the branches. The rush of the river soothes the mind, the broad descending surfaces of yellow-green oak carry the glance downwards from the blue over to the stream in the hollow. Rush! rush!—it is the river, like a mighty wind in the wood. A pheasant crows, and once and again falls the tap, tap of woodmen's axes—scarce heard, for they are high above. They strip the young oaks of their bark as far as they can while the saplings stand, then fell them, and as they all lie downhill there are parallel streaks of buff (where the sap has dried) drawn between the yellow-green masses of living leaf. The pathway winds in among the trees at the base of the rocky hill; light green whortleberries fill every interstice, bearing tiny red globes of flower—flower-lamps—open at the top. Wood-sorrel lifts its delicate veined petals; the leaf is rounded like the shadow of a bubble on a stone under clear water. I like to stay by the wood-sorrel a little while—it is so chastely beautiful; like the purest verse, it speaks to the inmost heart. Staying, I hear unconsciously—listen! Rush! rush! like a mighty wind in the wood.
It draws me on to the deep green pool inclosed about by rocks—a pool to stand near and think into. The purple rock, dotted with black moss; the white rock; the thin scarlet line; the green water; the overhanging tree; the verdant moss upon the bank; the lady fern—are there still. But I see also now a little pink somewhere in the water, much brown too, and shades I know no name for. The water is not green, but holds in solution three separate sets of colours. The confervæ on the stones, the growths beneath at the bottom waving a little as the water swirls like minute seaweeds—these are brown and green and somewhat reddish too. Under water the red rock is toned and paler, but has deep black cavities. Next, the surface, continually changing as it rotates, throws back a different light, and thirdly, the oaks' yellow-green high up, the pale ash, the tender ferns drooping over low down confer their tints on the stream. So from the floor of the pool, from the surface, and from the adjacent bank, three sets of colours mingle. Washed together by the slow swirl, they produce a shade—the brown of the Barle—lost in darkness where the bank overhangs.
Following the current downwards at last the river for awhile flows in quietness, broad and smooth. A trout leaps for a fly with his tail curved in the air, full a foot out of water. Trout watch behind sunken stones, and shoot to and fro as insects droop in their flight and appear about to fall. So clear is the water and so brightly illuminated that the fish are not easily seen—for vision depends on contrast—but in a minute I find a way to discover them by their shadows. The black shadow of a trout is distinct upon the bottom of the river, and guides the eye to the spot; then looking higher in the transparent water there is the fish. It was curious to see these black shadows darting to and fro as if themselves animated and without bodies, for if the trout darted before being observed the light concealed him in motion. Some of the trout came up from under Torre-steps, a singular structure which here connects the shores of the stream. Every one has seen a row of stepping-stones across a shallow brook; now pile other stones on each of these, forming buttresses, and lay flat stones like unhewn planks from buttress to buttress, and you have the plan of this primitive bridge. It has a megalithic appearance, as if associated with the age of rude stone monuments. They say its origin is doubtful; there can be no doubt of the loveliness of the spot. The Barle comes with his natural rush and fierceness under the unhewn stone planking, then deepens, and there overhanging a black pool—for the shadow was so deep as to be black—grew a large bunch of marsh-marigolds in fullest flower, the broad golden cups almost resting on the black water. The bridge is not intended for wheels, and though it is as firm as the rock, foot passengers have to look at their steps, as the great planks, flecked with lichen at the edges, are not all level. The horned sheep and lambs go over it—where do they not go? Like goats they wander everywhere.
In a cottage some way up the hill we ate clotted cream and whortleberry jam. Through the open door came the ceaseless rush! rush! like a wind in the wood. The floor was of concrete, lime and sand; on the open hearth—pronounced 'airth'—sods of turf cut from the moor and oak branches were smouldering under the chimney crook. Turf smoke from the piled-up fires of winter had darkened the beams of the ceiling, but from that rude room there was a view of the river, and the hill, and the oaks in full June colour, which the rich would envy. Sometimes in early morning the wild red deer are seen feeding on the slope opposite. As we drove away in reckless Somerset style, along precipices above the river, with nothing but a fringe of fern for parapet, the oak woods on the hills under us were shading down into evening coolness of tint, the yellow less warm, the green more to the surface. Upon the branches of the trees moss grows, forming a level green top to the round bough like a narrow cushion along it, with frayed edges drooping over each side. Though moss is common on branches, it does not often make a raised cushion, thick, as if green velvet pile were laid for the birds to run on. There were rooks' nests in some tall ash trees; the scanty foliage left the nests exposed, they were still occupied by late broods. Rooks' nests are not often seen in ashes as in elms.