On the Old Road Volume I Part 12

The first, the current fallacy of society as well as of the press, was, that the Pre-Raphaelites imitated the _errors_ of early painters.

A falsehood of this kind could not have obtained credence anywhere but in England, few English people, comparatively, having ever seen a picture of early Italian Masters. If they had they would have known that the Pre-Raphaelite pictures are just as superior to the early Italian in skill of manipulation, power of drawing, and knowledge of effect, as inferior to them in grace of design; and that in a word, there is not a shadow of resemblance between the two styles. The Pre-Raphaelites imitate no pictures: they paint from nature only. But they have opposed themselves as a body, to that kind of teaching above described, which only began after Raphael's time: and they have opposed themselves as sternly to the entire feeling of the Renaissance schools; a feeling compounded of indolence, infidelity, sensuality, and shallow pride.

Therefore they have called themselves Pre-Raphaelite. If they adhere to their principles, and paint nature as it is around them, with the help of modern science, with the earnestness of the men of the thirteenth and fourteenth centuries, they will, as I said, found a new and n.o.ble school in England. If their sympathies with the early artists lead them into mediaevalism or Romanism, they will of course come to nothing. But I believe there is no danger of this, at least for the strongest among them. There may be some weak ones, whom the Tractarian heresies may touch; but if so, they will drop off like decayed branches from a strong stem. I hope all things from the school.

The second falsehood was, that the Pre-Raphaelites did not draw well.

This was a.s.serted, and could have been a.s.serted only by persons who had never looked at the pictures.

The third falsehood was, that they had no system of light and shade. To which it may be simply replied that their system of light and shade is exactly the same as the Sun's; which is, I believe, likely to outlast that of the Renaissance, however brilliant.

[33] See ante, pp. 148-157.--ED.

[34] He did not use his full signature, "J. M. W.," until about the year 1800.

[35] I shall give a _catalogue raisonnee_ of all this in the third volume of _Modern Painters_.

[36] See _post_, - 217.

[37] The plate was, however, never published.

[38] And the more probably because Turner was never fond of staying long at any place, and was least of all likely to make a pause of two or three days at the beginning of his journey.

[39] _Vide Modern Painters_, Part II. Sect. III. Chap. IV. - 13.

[40] See _ante_, - 200.

[41] This state of mind appears to have been the only one which Wordsworth had been able to discern in men of science; and in disdain of which, he wrote that short-sighted pa.s.sage in the Excursion, Book III, P. 165-190, which is, I think, the only one in the whole range of his works which his true friends would have desired to see blotted out. What else has been found fault with as feeble or superfluous, is not so in the intense distinctive relief which it gives to his character. But these lines are written in mere ignorance of the matter they treat; in mere want of sympathy with the men they describe: for, observe, though the pa.s.sage is put into the mouth of the Solitary, it is fully confirmed, and even rendered more scornful, by the speech which follows.

THE THREE COLORS OF PRE-RAPHAELITISM.[42]

I.

226. I was lately staying in a country house, in which, opposite each other at the sides of the drawing-room window, were two pictures, belonging to what in the nineteenth century must be called old times, namely Rossetti's "Annunciation," and Millais' "Blind Girl"; while, at the corner of the chimney-piece in the same room, there was a little drawing of a Marriage-dance, by Edward Burne Jones. And in my bedroom, at one side of my bed, there was a photograph of the tomb of Ilaria di Caretto at Lucca, and on the other, an engraving, in long since superannuated manner, from Raphael's "Transfiguration." Also over the looking-gla.s.s in my bedroom, there was this large illuminated text, fairly well written, but with more vermilion in it than was needful; "Lord, teach us to pray."

And for many reasons I would fain endeavor to tell my Oxford pupils some facts which seem to me worth memory about these six works of art; which, if they will reflect upon, being, in the present state of my health, the best I can do for them in the way of autumn lecturing, it will be kind to me. And as I cannot speak what I would say, and believe my pupils are more likely to read it if printed in the _Nineteenth Century_ than in a separate pamphlet, I have asked, and obtained of the editor, s.p.a.ce in columns which ought, nevertheless, I think, usually to be occupied with sterner subjects, as the Fates are now driving the nineteenth century on its missionary path.

227. The first picture I named, Rossetti's "Annunciation," was, I believe, among the earliest that drew some public attention to the so-called "Pre-Raphaelite" school. The one opposite to it,--Millais'

"Blind Girl," is among those chiefly characteristic of that school in its determined manner. And the third, though small and unimportant, is no less characteristic, in its essential qualities, of the mind of the greatest master whom that school has yet produced.

I believe most readers will start at the application of the term "master," to any English painter. For the hope of the nineteenth century is more and more distinctly every day, to teach all men how to live without mastership either in art or morals (primarily, of course, subst.i.tuting for the words of Christ, "Ye say well, for so I am,"--the probable emendation, "Ye say ill, for so I am not"); and to limit the idea of magistracy altogether, no less than the functions of the magistrate, to the suppression of disturbance in the manufacturing districts.

Nor would I myself use the word "Master" in any but the most qualified sense, of any "modern painter"; scarcely even of Turner, and not at all, except for convenience and as a matter of courtesy, of any workman of the Pre-Raphaelite school, as yet. In such courtesy, only, let the masterless reader permit it me.

228. I must endeavor first to give, as well as I can by description, some general notion of the subjects and treatment of the three pictures.

Rossetti's "Annunciation" differs from every previous conception of the scene known to me, in representing the angel as waking the Virgin from sleep to give her his message. The Messenger himself also differs from angels as they are commonly represented, in not depending, for recognition of his supernatural character, on the insertion of bird's wings at his shoulders. If we are to know him for an angel at all, it must be by his face, which is that simply of youthful, but grave, manhood. He is neither transparent in body, luminous in presence, nor auriferous in apparel;--wears a plain, long, white robe,--casts a natural and undiminished shadow,--and, although there are flames beneath his feet, which upbear him, so that he does not touch the earth, these are unseen by the Virgin.

She herself is an English, not a Jewish girl, of about sixteen or seventeen, of such pale and thoughtful beauty as Rossetti could best imagine for her; concerning which effort, and its degree of success, we will inquire farther presently.

She has risen half up, not _started_ up, in being awakened; and is not looking at the angel, but only thinking, it seems, with eyes cast down, as if supposing herself in a strange dream. The morning light fills the room, and shows at the foot of her little pallet-bed, her embroidery work, left off the evening before,--an upright lily.

Upright, and very accurately upright, as also the edges of the piece of cloth in its frame,--as also the gliding form of the angel,--as also, in severe foreshortening, that of the Virgin herself. It has been studied, so far as it has been studied at all, from a very thin model; and the disturbed coverlid is thrown into confused angular folds, which admit no suggestion whatever of ordinary girlish grace. So that, to any spectator little inclined towards the praise of barren "uprightnesse," and accustomed on the contrary to expect radiance in archangels, and grace in Madonnas, the first effect of the design must be extremely displeasing, and the first is perhaps, with most art-amateurs of modern days, likely to be the last.

229. The background of the second picture (Millais' "Blind Girl"), is an open English common, skirted by the tidy houses of a well-to-do village in the c.o.c.kney rural districts. I have no doubt the scene is a real one within some twenty miles from London, and painted mostly on the spot.

The houses are entirely uninteresting, but decent, trim, as human dwellings should be, and on the whole inoffensive--not "cottages," mind you, in any sense, but respectable brick-walled and slated constructions, old-fashioned in the sense of "old" at, suppose, Bromley or Sevenoaks, and with a pretty little church belonging to them, its window traceries freshly whitewashed by order of the careful warden.

The common is a fairly s.p.a.cious bit of ragged pasture, with a couple of donkeys feeding on it, and a cow or two, and at the side of the public road pa.s.sing over it, the blind girl has sat down to rest awhile. She is a simple beggar, not a poetical or vicious one;--being peripatetic with musical instrument, she will, I suppose, come under the general term of tramp; a girl of eighteen or twenty, extremely plain-featured, but healthy, and just now resting, as any one of us would rest, not because she is much tired, but because the sun has but this moment come out after a shower, and the smell of the gra.s.s is pleasant.

The shower has been heavy, and is so still in the distance, where an intensely bright double rainbow is relieved against the departing thunder-cloud. The freshly wet gra.s.s is all radiant through and through with the new sunshine; full noon at its purest, the very donkeys bathed in the rain-dew, and prismatic with it under their rough b.r.e.a.s.t.s as they graze; the weeds at the girl's side as bright as a Byzantine enamel, and inlaid with blue veronica; her upturned face all aglow with the light that seeks its way through her wet eyelashes (wet only with the rain).

Very quiet she is,--so quiet that a radiant b.u.t.terfly has settled on her shoulder, and basks there in the warm sun. Against her knee, on which her poor instrument of musical beggary rests (harmonium), leans another child, half her age--her guide;--indifferent, this one, either to sun or rain, only a little tired of waiting. No more than a half profile of her face is seen; and that is quite expressionless, and not the least pretty.

230. Both of these pictures are oil-paintings. The third, Mr. Burne Jones's "Bridal," is a small water-color drawing, scarcely more than a sketch; but full and deep in such color as it admits. Any careful readers of my recent lectures at Oxford know that I entirely ignore the difference of material between oil and water as diluents of color, when I am examining any grave art question: nor shall I hereafter, throughout this paper, take notice of it. Nor do I think it needful to ask the pardon of any of the three artists for confining the reader's attention at present to comparatively minor and elementary examples of their works. If I can succeed in explaining the principles involved in them, their application by the reader will be easily extended to the enjoyment of better examples.

This drawing of Mr. Jones's, however, is far less representative of his scale of power than either of the two pieces already described, which have both cost their artists much care and time; while this little water-color has been perhaps done in the course of a summer afternoon.

It is only about seven inches by nine: the figures of the average size of Angelico's on any altar predella; and the heads, of those on an average Corinthian or Syracusan coin. The bride and bridegroom sit on a slightly raised throne at the side of the picture, the bride nearest us; her head seen in profile, a little bowed. Before them, the three bridesmaids and their groomsmen dance in circle, holding each other's hands, bare-footed, and dressed in long dark blue robes. Their figures are scarcely detached from the dark background, which is a willful mingling of shadow and light, as the artist chose to put them, representing, as far as I remember, nothing in particular. The deep tone of the picture leaves several of the faces in obscurity, and none are drawn with much care, not even the bride's; but with enough to show that her features are at least as beautiful as those of an ordinary Greek G.o.ddess, while the depth of the distant background throws out her pale head in an almost lunar, yet unexaggerated, light; and the white and blue flowers of her narrow coronal, though _merely_ white and blue, shine, one knows not how, like gems. Her bridegroom stoops forward a little to look at her, so that we see his front face, and can see also that he loves her.

231. Such being the respective effort and design of the three pictures, although I put by, for the moment, any question of their mechanical skill or manner, it must yet, I believe, be felt by the reader that, as works of young men, they contained, and even nailed to the Academy gates, a kind of Lutheran challenge to the then accepted teachers in all European schools of Art: perhaps a little too shrill and petulant in the tone of it, but yet curiously resolute and steady in its triple Fraternity, as of William of Burglen with his Melchthal and Stauffacher, in the Grutli meadow, not wholly to be scorned by even the knightliest powers of the Past.

We have indeed, since these pictures were first exhibited, become accustomed to many forms both of pleasing and revolting innovation: but consider, in those early times, how the pious persons who had always been accustomed to see their Madonnas dressed in scrupulously folded and exquisitely falling robes of blue, with edges embroidered in gold,--to find them also, sitting under arcades of exquisitest architecture by Bernini,--and reverently to observe them receive the angel's message with their hands folded on their b.r.e.a.s.t.s in the most graceful positions, and the missals they had been previously studying laid open on their knees, (see my own outline from Angelico of the "Ancilla Domini," the first plate of the fifth volume of _Modern Painters_);--consider, I repeat, the shock to the feelings of all these delicately minded persons, on being asked to conceive a Virgin waking from her sleep on a pallet bed, in a plain room, startled by sudden words and ghostly presence which she does not comprehend, and casting in her mind what manner of Salutation this should be.

232. Again, consider, with respect to the second picture, how the learned possessors of works of established reputation by the ancient masters, cla.s.sically catalogued as "landscapes with figures"; and who held it for eternal, artistic law that such pictures should either consist of a rock, with a Spanish chestnut growing out of the side of it, and three banditti in helmets and big feathers on the top, or else of a Corinthian temple, built beside an arm of the sea, with the Queen of Sheba beneath, preparing for embarkation to visit Solomon,--the whole properly toned down with amber varnish;--imagine the first consternation, and final wrath, of these _cognoscenti_, at being asked to contemplate, deliberately, and to the last rent of her ragged gown, and for princ.i.p.al object in a finished picture, a vagrant who ought at once to have been sent to the workhouse; and some really green gra.s.s and blue flowers, as they actually may any day be seen on an English common-side.

And finally, let us imagine, if imagination fail us not, the far more wide and weighty indignation of the public, accustomed always to see its paintings of marriages elaborated in Christian propriety and splendor; with a bishop officiating, a.s.sisted by a dean and an archdeacon; the modesty of the bride expressed by a veil of the most expensive Valenciennes, and the robes of the bridesmaids designed by the perfectest of Parisian artists, and looped up with stuffed robins or other such tender rarities;--think with what sense of hitherto unheard-of impropriety, the British public must have received a picture of a marriage, in which the bride was only crowned with flowers,--at which the bridesmaids danced barefoot,--and in which nothing was known, or even conjecturable, respecting the bridegroom, but his love!

233. Such being the manifestly opponent and agonistic temper of these three pictures (and admitting, which I will crave the reader to do for the nonce, their real worth and power to be considerable), it surely becomes a matter of no little interest to see what spirit it is that they have in common, which, recognized as revolutionary in the minds of the young artists themselves, caused them, with more or less of firmness, to const.i.tute themselves into a society, partly monastic, partly predicatory, called "Pre-Raphaelite": and also recognized as such, with indignation, by the public, caused the youthfully didactic society to be regarded with various degrees of contempt, pa.s.sing into anger (as of offended personal dignity), and embittered farther, among certain cla.s.ses of persons, even into a kind of instinctive abhorrence.

234. I believe the reader will discover, on reflection, that there is really only one quite common and sympathetic impulse shown in these three works, otherwise so distinct in aim and execution. And this fraternal link he will, if careful in reflection, discover to be an effort to represent, so far as in these youths lay either the choice or the power, things as they are, or were, or may be, instead of, according to the practice of their instructors and the wishes of their public, things as they are _not_, never were, and never can be: this effort being founded deeply on a conviction that it is at first better, and finally more pleasing, for human minds to contemplate things as they are, than as they are not.

Thus, Mr. Rossetti, in this and subsequent works of the kind, thought it better for himself and his public to make some effort towards a real notion of what actually did happen in the carpenter's cottage at Nazareth, giving rise to the subsequent traditions delivered in the Gospels, than merely to produce a variety in the pattern of Virgin, pattern of Virgin's gown, and pattern of Virgin's house, which had been set by the jewelers of the fifteenth century.

Similarly, Mr. Millais, in this and other works of the kind, thought it desirable rather to paint such gra.s.s and foliage as he saw in Kent, Surrey, and other solidly accessible English counties, than to imitate even the most Elysian fields enameled by Claude, or the gloomiest branches of Hades forest rent by Salvator: and yet more, to manifest his own strong personal feeling that the humanity, no less than the herbage, near us and around, was that which it was the painter's duty first to portray; and that, if Wordsworth were indeed right in feeling that the meanest flower that blows can give,--much more, for any kindly heart it should be true that the meanest tramp that walks can give--"thoughts that do often lie too deep for tears."

235. And if at first--or even always to careless sight--the third of these pictures seem opposite to the two others in the very point of choice, between what is and what is not; insomuch that while _they_ with all their strength avouch realities, _this_ with simplest confession dwells upon a dream,--yet in this very separation from them it sums their power and seals their brotherhood; reaching beyond them to the more perfect truth of things, not only that once were,--not only that now are,--but which are the same yesterday, to-day, and forever;--the love by whose ordaining the world itself, and all that dwell therein, live, and move, and have their being; by which the Morning stars rejoice in their courses--in which the virgins of deathless Israel rejoice in the dance--and in whose constancy the Giver of light to stars, and love to men, Himself is glad in the creatures of His hand,--day by new day proclaiming to His Church of all the ages, "As the bridegroom rejoiceth over the bride, so shall thy Lord rejoice over thee."

Such, the reader will find, if he cares to learn it, is indeed the purport and effort of these three designs--so far as, by youthful hands and in a time of trouble and rebuke, such effort could be brought to good end. Of their visible weaknesses, with the best justice I may,--of their veritable merits with the best insight I may, and of the farther history of the school which these masters founded, I hope to be permitted to speak more under the branches that do not "remember their green felicity"; adding a corollary or two respecting the other pieces of art above named[43] as having taken part in the tenor of my country hours of idleness.

FOOTNOTES:

[42] _Nineteenth Century_, NOV.-DEC. 1878.--ED.

[43] May I in the meantime recommend any reader interested in these matters to obtain for himself such photographic representation as may be easily acquirable of the tomb of Ilaria? It is in the north transept of the Cathedral of Lucca; and is certainly the most beautiful work existing by the master who wrought it,--Jacopo della Quercia.

THE THREE COLORS OF PRE-RAPHAELITISM.