Footnotes:[34]Liberate Rolls, preserved in the Tower of London, and quoted by Mr. Turner in his History of the Domestic Architecture of England.[35]This incident is not of Orcagna's invention, it is variously represented in much earlier art. There is a curious and graphic drawing of it,circa1300, in the MS. Arundel 83, Brit. Mus., in which the three dead persons are walking, and are met by three queens, who severally utter the sentences,"Ich am aferd.""Lo, whet ich se?""Me thinketh hit beth develes thre."To which the dead bodies answer—"Ich wes wel fair.""Such scheltou be.""For Godes love, be wer by me."It is curious, that though the dresses of the living persons, and the "I was well fair" of the first dead speaker, seem to mark them distinctly to be women, some longer legends below are headed "primusrexmortuus," etc.[36]Luke ii. 42, 49.[37]1 Kings iii. 5.[38]I intended this last sentence of course to apply to the thousand statues, not definitely to the one in immediate question, which, though tainted with the modern affectation, and the nearest example of it to which I could refer an Edinburgh audience, is the work of a most promising sculptor; and was indeed so far executed on the principles asserted in the text, that the Duke gave Mr. Steele a sitting on horse-back, in order that his mode of riding might be accurately represented. This, however, does not render the following remarks in the text nugatory, as it may easily be imagined that the action of the Duke, exhibiting his riding in his own grounds, would be different from his action, or inaction, when watching the course of a battle.I must also make a most definite exception in favor of Marochetti, who seems to me a thoroughly great sculptor; and whose statue of Cœur de Lion, though, according to the principle just stated, not to be considered ahistoricalwork, is anidealwork of the highest beauty and value. Its erection in front of Westminster Hall will tend more to educate the public eye and mind with respect to art, than anything we have done in London for centuries.April 21st, 1854.—I stop the press in order to insert the following paragraph from to-day'sTimes:—"The Statue of Cœur De Lion.—Yesterday morning a number of workmen were engaged in pulling down the cast which was placed in New Palace Yard of the colossal equestrian statue of Richard Cœur de Lion. Sir C. Barry was, we believe, opposed to the cast remaining there any longer, and to the putting up of the statue itself on the same site, because it did not harmonize with the building. During the day the horse and figure were removed, and before night the pedestal was demolished and taken away."[39]Or, where imagination is necessarily trusted to, by always endeavoring to conceive a fact as it really was likely to have happened, rather than as it most prettilymighthave happened. The various members of the school are not all equally severe in carrying out its principles, some of them trusting their memory or fancy very far; only all agreeing in the effort to make their memories so accurate as to seem like portraiture, and their fancy so probable as to seem like memory.
Footnotes:
[34]Liberate Rolls, preserved in the Tower of London, and quoted by Mr. Turner in his History of the Domestic Architecture of England.
[34]Liberate Rolls, preserved in the Tower of London, and quoted by Mr. Turner in his History of the Domestic Architecture of England.
[35]This incident is not of Orcagna's invention, it is variously represented in much earlier art. There is a curious and graphic drawing of it,circa1300, in the MS. Arundel 83, Brit. Mus., in which the three dead persons are walking, and are met by three queens, who severally utter the sentences,"Ich am aferd.""Lo, whet ich se?""Me thinketh hit beth develes thre."To which the dead bodies answer—"Ich wes wel fair.""Such scheltou be.""For Godes love, be wer by me."It is curious, that though the dresses of the living persons, and the "I was well fair" of the first dead speaker, seem to mark them distinctly to be women, some longer legends below are headed "primusrexmortuus," etc.
[35]This incident is not of Orcagna's invention, it is variously represented in much earlier art. There is a curious and graphic drawing of it,circa1300, in the MS. Arundel 83, Brit. Mus., in which the three dead persons are walking, and are met by three queens, who severally utter the sentences,
"Ich am aferd.""Lo, whet ich se?""Me thinketh hit beth develes thre."
"Ich am aferd.""Lo, whet ich se?""Me thinketh hit beth develes thre."
To which the dead bodies answer—
"Ich wes wel fair.""Such scheltou be.""For Godes love, be wer by me."
"Ich wes wel fair.""Such scheltou be.""For Godes love, be wer by me."
It is curious, that though the dresses of the living persons, and the "I was well fair" of the first dead speaker, seem to mark them distinctly to be women, some longer legends below are headed "primusrexmortuus," etc.
[36]Luke ii. 42, 49.
[36]Luke ii. 42, 49.
[37]1 Kings iii. 5.
[37]1 Kings iii. 5.
[38]I intended this last sentence of course to apply to the thousand statues, not definitely to the one in immediate question, which, though tainted with the modern affectation, and the nearest example of it to which I could refer an Edinburgh audience, is the work of a most promising sculptor; and was indeed so far executed on the principles asserted in the text, that the Duke gave Mr. Steele a sitting on horse-back, in order that his mode of riding might be accurately represented. This, however, does not render the following remarks in the text nugatory, as it may easily be imagined that the action of the Duke, exhibiting his riding in his own grounds, would be different from his action, or inaction, when watching the course of a battle.I must also make a most definite exception in favor of Marochetti, who seems to me a thoroughly great sculptor; and whose statue of Cœur de Lion, though, according to the principle just stated, not to be considered ahistoricalwork, is anidealwork of the highest beauty and value. Its erection in front of Westminster Hall will tend more to educate the public eye and mind with respect to art, than anything we have done in London for centuries.April 21st, 1854.—I stop the press in order to insert the following paragraph from to-day'sTimes:—"The Statue of Cœur De Lion.—Yesterday morning a number of workmen were engaged in pulling down the cast which was placed in New Palace Yard of the colossal equestrian statue of Richard Cœur de Lion. Sir C. Barry was, we believe, opposed to the cast remaining there any longer, and to the putting up of the statue itself on the same site, because it did not harmonize with the building. During the day the horse and figure were removed, and before night the pedestal was demolished and taken away."
[38]I intended this last sentence of course to apply to the thousand statues, not definitely to the one in immediate question, which, though tainted with the modern affectation, and the nearest example of it to which I could refer an Edinburgh audience, is the work of a most promising sculptor; and was indeed so far executed on the principles asserted in the text, that the Duke gave Mr. Steele a sitting on horse-back, in order that his mode of riding might be accurately represented. This, however, does not render the following remarks in the text nugatory, as it may easily be imagined that the action of the Duke, exhibiting his riding in his own grounds, would be different from his action, or inaction, when watching the course of a battle.
I must also make a most definite exception in favor of Marochetti, who seems to me a thoroughly great sculptor; and whose statue of Cœur de Lion, though, according to the principle just stated, not to be considered ahistoricalwork, is anidealwork of the highest beauty and value. Its erection in front of Westminster Hall will tend more to educate the public eye and mind with respect to art, than anything we have done in London for centuries.
April 21st, 1854.—I stop the press in order to insert the following paragraph from to-day'sTimes:—"The Statue of Cœur De Lion.—Yesterday morning a number of workmen were engaged in pulling down the cast which was placed in New Palace Yard of the colossal equestrian statue of Richard Cœur de Lion. Sir C. Barry was, we believe, opposed to the cast remaining there any longer, and to the putting up of the statue itself on the same site, because it did not harmonize with the building. During the day the horse and figure were removed, and before night the pedestal was demolished and taken away."
[39]Or, where imagination is necessarily trusted to, by always endeavoring to conceive a fact as it really was likely to have happened, rather than as it most prettilymighthave happened. The various members of the school are not all equally severe in carrying out its principles, some of them trusting their memory or fancy very far; only all agreeing in the effort to make their memories so accurate as to seem like portraiture, and their fancy so probable as to seem like memory.
[39]Or, where imagination is necessarily trusted to, by always endeavoring to conceive a fact as it really was likely to have happened, rather than as it most prettilymighthave happened. The various members of the school are not all equally severe in carrying out its principles, some of them trusting their memory or fancy very far; only all agreeing in the effort to make their memories so accurate as to seem like portraiture, and their fancy so probable as to seem like memory.
138. I could not enter, in a popular lecture, upon one intricate and difficult question, closely connected with the subject of Pre-Raphaelitism—namely, the relation of invention to observation; and composition to imitation. It is still less a question to be discussed in the compass of a note; and I must defer all careful examination of it to a future opportunity. Nevertheless, it is impossible to leave altogether unanswered the first objection which is now most commonly made to the Pre-Raphaelite work, namely, that the principle of it seems adverse to all exertion of imaginative power. Indeed, such an objection sounds strangely on the lips of a public who have been in the habit of purchasing, for hundreds of pounds, small squares of Dutch canvas, containing only servile imitations of the coarsest nature. It is strange that an imitation of a cow's head by Paul Potter, or of an old woman's by Ostade, or of a scene of tavern debauchery by Teniers, should be purchased and proclaimed for high art, while the rendering of the most noble expressions of human feeling in Hunt's "Isabella," or of the loveliest English landscape, haunted by sorrow, in Millais' "Ophelia," should be declared "puerile." But, strange though the utterance of it be, there is some weight in the objection. It is true that so long as the Pre-Raphaelites only paint from nature, however carefully selected and grouped, their pictures can never have the characters of the highest class of compositions. But, on the other hand, the shallow and conventional arrangements commonlycalled "compositions" by the artists of the present day, are infinitely farther from great art than the most patient work of the Pre-Raphaelites. That work is, even in its humblest form, a secure foundation, capable of infinite superstructure; a reality of true value, as far as it reaches, while the common artistical effects and groupings are a vain effort at superstructure without foundation—utter negation and fallacy from beginning to end.
139. But more than this, the very faithfulness of the Pre-Raphaelites arises from the redundance of their imaginative power. Not only can all the members of the school compose a thousand times better than the men who pretend to look down upon them, but I question whether even the greatest men of old times possessed more exhaustless invention than either Millais or Rossetti; and it is partly the very ease with which they invent which leads them to despise invention. Men who have no imagination, but have learned merely to produce a spurious resemblance of its results by the recipes of composition, are apt to value themselves mightily on their concoctive science; but the man whose mind a thousand living imaginations haunt, every hour, is apt to care too little for them; and to long for the perfect truth which he finds is not to be come at so easily. And though I may perhaps hesitatingly admit that it is possible to love this truth of reality too intensely, yet I have no hesitation in declaring that there isno hopefor those who despise it, and that the painter, whoever he be, who despises the pictures already produced by the Pre-Raphaelites, has himself no capacity of becoming a great painter of any kind. Paul Veronese and Tintoret themselves, without desiring to imitate the Pre-Raphaelite work, would have looked upon it with deep respect, as John Bellini looked on that of Albert Dürer; none but the ignorant could be unconscious of its truth, and none but the insincere regardless of it.
140. How far it is possible for men educated on the severest Pre-Raphaelite principles to advance from their present style into that of the great schools of composition, I do notcare to inquire, for at this period such an advance is certainly not desirable. Of great compositions we have enough, and more than enough, and it would be well for the world if it were willing to take some care of those it has. Of pure and manly truth, of stern statement of the things done and seen around us daily, we have hitherto had nothing. And in art, as in all other things, besides the literature of which it speaks, that sentence of Carlyle is inevitably and irreversibly true:—"Day after day, looking at the high destinies which yet await literature, which literature will ere long address herself with more decisiveness than ever to fulfill, it grows clearer to us that the proper task of literature lies in the domain ofBelief, within which, poetic fiction, as it is charitably named, will have to take a quite new figure, if allowed a settlement there. Whereby were it not reasonable to prophesy that this exceeding great multitude of novel writers and such like, must, in a new generation, gradually do one of two things, either retire into nurseries, and work for children, minors, and semifatuous persons of both sexes, or else, what were far better, sweep their novel fabric into the dust cart, and betake them, with such faculty as they have,to understand and record what is true, of which surely there is and forever will be a whole infinitude unknown to us, of infinite importance to us? Poetry will more and more come to be understood as nothing but higher knowledge, and the only genuine Romance for grown persons, Reality."
141. As I was copying this sentence, a pamphlet was put into my hand, written by a clergyman, denouncing "Woe, woe, woe! to exceedingly young men of stubborn instincts, calling themselves Pre-Raphaelites."[40]
I thank God that the Pre-Raphaelitesareyoung, and that strength is still with them, and life, with all the war of it, still in front of them. Yet Everett Millais is this year ofthe exact age at which Raphael painted the "Disputa," his greatest work; Rossetti and Hunt are both of them older still—nor is there one member of the body so young as Giotto, when he was chosen from among the painters of Italy to decorate the Vatican. But Italy, in her great period, knew her great men, and did not "despise their youth." It is reserved for England to insult the strength of her noblest children—to wither their warm enthusiasm early into the bitterness of patient battle, and leave to those whom she should have cherished and aided, no hope but in resolution, no refuge but in disdain.
142. Indeed it is woful, when the young usurp the place, or despise the wisdom, of the aged; and among the many dark signs of these times, the disobedience and insolence of youth are among the darkest. But with whom is the fault? Youth never yet lost its modesty where age had not lost its honor; nor did childhood ever refuse its reverence, except where age had forgotten correction. The cry, "Go up, thou bald head," will never be heard in the land which remembers the precept, "See that ye despise not one of these little ones;" and although indeed youthmaybecome despicable, when its eager hope is changed into presumption, and its progressive power into arrested pride, there is something more despicable still, in the old age which has learned neither judgment nor gentleness, which is weak without charity, and cold without discretion.
Footnote:[40]Art, its Constitution and Capacities, etc. By the Rev. Edward Young, M.A. The phrase "exceedingly young men of stubborn instincts," being twice quoted (carefully excluding the context) from my pamphlet on Pre-Raphaelitism.
Footnote:
[40]Art, its Constitution and Capacities, etc. By the Rev. Edward Young, M.A. The phrase "exceedingly young men of stubborn instincts," being twice quoted (carefully excluding the context) from my pamphlet on Pre-Raphaelitism.
[40]Art, its Constitution and Capacities, etc. By the Rev. Edward Young, M.A. The phrase "exceedingly young men of stubborn instincts," being twice quoted (carefully excluding the context) from my pamphlet on Pre-Raphaelitism.
Transcriber's Note:While obvious printer's errors have been corrected, inconsistencies and unusual spelling were preserved as in the original.
Transcriber's Note:While obvious printer's errors have been corrected, inconsistencies and unusual spelling were preserved as in the original.