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some- of them taking for subjects events which tad actually happened, and others themes from the poets; or, better still, becoming poets themselves in the entire sense, and inventing the story as they painted it. Painting seems to me only just to be beginning, in this sense also, to take its proper position bsside literature.

Finally, as far as I can observe, it is a constant law that the greatest men, whether poets or historians, live entirely in their own age, and that the greatest fruits of their work are gathered out of their own age. Dante paints Italy in the thirteenth century; Chaucer, England in the fourteenth; Masaccio, Florence in the fifteenth; Tintoret, Venice in the sixteenth; —all of them utterly regardless of anachronism and minor error of every kind, but getting always vital truth out of the vital present.

If it be said that Shakspere wrote perfect historical plays on subjects belonging to the preceding centuries, I answer, that they are perfect plays just because there is no care about centuries in them, but a life which all men recognise for the human life of all time; and this it is, not because Shakspere sought to give universal truth, but because, painting honestly and completely from the men about him, he painted that human nature which is, indeed, constant enough,—a rogue in the fifteenth century being, at heart, what a rogue is in the nineteenth and was in the twelfth; and an honest or a knightly man being, in like manner, very similar to other such at any other time. And the work of these great idealists is, therefore, always universal; not because it is not portrait, but because it is complete portrait down to the heart, which is the same in all ages: and the work of the mean idealists is not uni versa"., not because it is portrait, but because it is half portrait, —of the outside, the manners and the dress, not of the heart. Thus Tintoret and Shakspere paint, both of them, simply Venetian and English nature as they saw it in their time, do m to the root; and it does for all time; but as for any can to cast themselves into the particular ways and tones of thought, or custom, of past time in their historical work, you will find it in neither of them, nor in any other perfectly great man that I know of.

If there had been no vital truth in their present, it is hard to oay what these men could have done. I suppose, primarily, they would not have existed; that they, and the matter they ha-v e to treat of, are given together, and that the strength of the nation and its historians correlatively rise and fall—Herodot is springing out of the dust of Marathon. It is also hard to (ay how far our better geneial acquaintance with minor details of past history may make us able to turn the shadow on the imaginative dial backwards, and naturally to live, and even live strongly if we choose, in past periods; but this main truth will always be unshaken, that the only historical painting deserving the name is portraiture of our own living men and our own passing times,* and that all efforts to summon up the events of bygone periods, though often useful and touching, must come under an inferior class of poetical painting; nor will it, I believe, ever be much followed as their main work by the strongest men, but only by the weaker and comparatively sentimental (rather than imaginative) groups.

Suppose you have to teach two children drawing, one thoroughly clever and active-minded, the other dull and slow; and you put before them Jullien's chalk studies of heads— Etudes a deux crayons—and desire them to be copied. The dul child will slowly do your bidding, blacken his paper and rub it white again, and patiently and painfully, in the course of three or four years, attain to the performance of a chalk head, not

* See Edinburgh Lectures, p. 217. much worse than his original, but still of less value than the paper it is drawn upon. But the clever child will not, or will only by force, consent to this discipline. He finds other means of expressing himself with his pencil somehow or another; and presently yju find his paper covered with sketches of his grandfather and grandmother, and uncles, and cousins,— sketches of the room, and the house, and the cat, and the dog, and the country outside, and everything in the world he can set his eyes on; and he gets on, and even his child's work has a value in it-—a truth which makes it worth keeping; no one knows how precious, perhaps, that portrait of his grandfather may be, if any one has but the sense to keep it till the time when the old man can be seen no more up the lawn, nor by the wood. That child is working in the middle-age spirit—the other in the modern spirit.

But there is something still more striking in the evils which have resulted from the modern regardlessness of truth. Consider, for instance, its effect on what is called historical painting. What do you at present mean by historical painting? Nowa-days, it means the endeavoring, by the power of imagination, to portray aome historical event of past days. But in the middle ages, it meant representing the acts of their own days; and that is the only historical painting worth a straw. Of all the wastes of time and sense which modernism has invented—. and they are many—none are so ridiculous as this endeavor to represent past history. What do you suppose our descendants will care for our imaginations of the events of former days? Suppose the Greeks, instead of representing their own warriors as they fought at Marathon, had left us nothing but their imaginations of Egyptian battles; and suppose the Italians, in like manner, instead of portraits of Can Grande and Dante, or of Leo the Tenth and Raphael, had left us nothing but imaginary portraits of Pericles and Miltiades? What fools we should have thought them! how bitterly we should have been provoked with their folly! And that is precisely what Out descendants will feel towards us, so far as our grand historical and classical schools are concerned. What do we care, they will say, what those 19th century people fancied about Greek and Roman history! If they had left us a few plain and rational sculptures and pictures of their own battles, and their own men, in their everyday dress, we should have thanked them. Well, but, you will say, we have left them portraits of our great men, and paintings of our great battles. Yes, you have indeed, and that is the only historical painting that you either have or can have; but you don't call that historical painting. You don't thank the men who do it; you look down upon them and dissuade them from it, and tell them they don't belong to the grand schools. And yet they are the only true historical painters, and the only men who will produce any effect on their own generation, or any other. Wilkie was an historical painter, Chantrey an historical sculptor, because they painted, or carved, the veritable things and men they saw, not men and things as they believed they might have been, or should have been. But no one tells such men they are historical painters, and they are discontented with what they do; and poor Wilkie must needs travel to see the grand school, and imitate the grand school, and ruin himself. And you have had multitudes of other painters ruined, from the beginning, by that grand school. There was Etty, naturally as good a painter as ever lived, but no one told him what to paint, and he studied the antique, and the grand schools, and painted dances of nymphs in red and yellow shawls to the end of his days. Much good may they do you! He is gone to the grave, a lost mind. There was Flaxman, another naturally great man, with as true an eye for nature as Raphael,—he stumbles over the blocks of the antique statues—wanders in the dark valley of their ruins to the end of his days. He has left you a few outlines of mas cular men straddling and fVowning behind round shields. Much good may they do you! Another lost mind. And ot those who are lost namelessly, who have not strength enough even to make themselves known, the poor pale students who lie buried for ever in the abysses of the great schools, nc account can be rendered; they are numberless.

And the wonderful thing is, that of all these men whom you now have come to call the great masters, there was not one who confessedly did not paint his own present world, plainly and truly. Homer sang of what he saw; Phidias carved what he saw; Raphael painted the men of his own time in their own caps and mantles; and every man who has arisen to eminence in modern times has done so altogether by his working in their way, and doing the things he saw. How did Reynolds rise? Not by painting Greek women, but by painting the glorious little living ladies this, and ladies that, of his own time. How did Hogarth rise? Not by painting Athenian follies, but London follies. Who are the men who have made an impression upon you yourselves,—upon your own age? I suppose the most popular painter of the day is Landseer. Do you suppose he studied dogs and eagles out of the Elgin Marbles? And yet in the very face of these plain, incontrovertible, allvisible facts, we go on from year to year with the base system of Academy teaching, in spite of which every one of these men has risen: I say in spite of the entire method and aim of our art-teaching. It destroys the greater number of its pupils altogether; it hinders and paralyses the greatest. There is not a living painter whose eminence is not in spite of everything he has been taught from his youth upwards, and who, whatever his eminence may be, has not suffered much injury in the course of his victory. For observe: this love of what is called ideality or beauty in preference to truth, operates not only in making

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