Sketches Part 13

'Words are very good things sometimes,' I replied; 'that is, if we keep marching at the same time.'

'G.o.d is great!' exclaimed Ibrahim; and looking round to his officers, 'the Effendi speaks truth; and thus it was that Redchid beat the beys.'

Ibrahim alluded to the Albanian campaign of the preceding year, when the energy of the grand vizier crushed the rebellious beys of the ancient Epirus.

'What do you think of Redchid?' he inquired.

'I think he is worthy of being your Highness's rival.'

'He has always been victorious,' said Ibrahim; 'but I think his sabre is made of gold. That will not do with me.'

'It's a pity,' I observed, 'that if your Highness find time to march into Syria, you had not acted simultaneously with the Albanians, or with the Pasha of Scutari.'

'May I kill my mother but it is true; but up there, they will watch, and watch, and watch, till they fall asleep.'

The truth is, the Orientals have no idea of military diversions; and even if they combine, each strives to be the latest in the field, in order that he may take advantage of the other's success or discomfiture.

Mehemet Ali, at an immense expenditure, had excited two terrible revolts in European Turkey, and then waited to invade Syria until the armies of the Porte were unemployed. The result with some will justify his policy; but in the conquest of Syria, the truth is, Ibrahim himself used a golden sabre, and the year, before, the contingents of the pashas, whom he was obliged to bribe, were all busied in Europe.

The night previous to this conversation the style of the military oath of the Egyptian army had been altered; and the troops, instead of swearing allegiance to the Sultan, had pledged themselves to Mehemet Ali. The Grand Pasha was so nervous about this change, that the order for it was countermanded twice in four hours; however, what with gratuities to the troops, and the discreet distribution of promotion among the officers, everything went off very quietly. There was also a rumour that Mehemet Ali intended immediately to a.s.sume the t.i.tle of _Caliph_.

This piece of information is necessary to explain the following striking observation of Ibrahim Pasha.

'Effendi, do you think that a man can conquer Syria, who is not called a caliph? Will it make 40,000 men 80,000?'

I replied, that I thought the a.s.sumption of the t.i.tle would have a beneficial effect at foreign courts.

'Bah! before the Yahoos hear of it, I shall be at Damascus. Up there, they are always busying themselves with forms. The eagle in his flight does not think of his shadow on the earth!'

MUNICH

THE destiny of nations appears to have decreed that a society should periodically, though rarely, flourish, characterised by its love of the Fine Arts, and its capacity of ideal creation. These occasional and brilliant ebullitions of human invention elevate the race of man; they purify and chasten the taste of succeeding generations; and posterity accepts them as the standard of what is choice, and the model of what is excellent.

Cla.s.sic Greece and Christian Italy stand out in our universal annals as the epochs of the Arts. During the last two centuries, while manners have undergone a rapid transition, while physical civilisation has advanced in an unprecedented degree, and the application of science to social life has diverted the minds of men from other pursuits, the Fine Arts have decayed and vanished.

I wish to call the attention of my countrymen to another great movement in the creative mind of Europe; one yet young and little recognised, but not inferior, in my opinion, either to that of Athens or of Florence.

It was on a cloudless day of the autumn of last year, that I found myself in a city that seemed almost visibly rising beneath my eye. The street in which I stood was of n.o.ble dimensions, and lined on each side with palaces or buildings evidently devoted to public purposes. Few were completely finished: the sculptor was working at the statues that adorned their fronts; the painter was still touching the external frescoes; and the scaffold of the architect was not in every instance withdrawn. Everywhere was the hum of art and artists. The Byzantine style of many of these buildings was novel to me in its modern adaptation, yet very effective. The delicate detail of ornament contrasted admirably with the broad fronts and n.o.ble facades which they adorned. A church with two very lofty towers of white marble, with their fretted cones relieved with cerulean blue, gleamed in the sun; and near it was a pile not dissimilar to the ducal palace at Venice, but of n.o.bler and more beautiful proportions, with its portal approached by a lofty flight of steps, and guarded by the colossal statues of poets and philosophers--suitably guarded, for it was the National Library.

As I advanced, I found myself in squares and circuses, in every instance adorned by an obelisk of bronze or the equestrian statue of some royal hero: I observed a theatre with a lofty Corinthian portico, and a pediment brilliantly painted in fresco with designs appropriate to its purpose; an Ionic museum of sculpture, worthy to enshrine the works of a Phidias or a Praxiteles; and a palace for the painter, of which I was told the first stone had been rightly laid on the birthday of Raffaelle.

But what struck me most in this city, more than its galleries, temples, and palaces, its magnificent buildings, splendid paintings, and consummate statues, was the all-pervading presence and all-inspiring influence of living and breathing Art. In every street, a school: the atelier of the sculptor open, the studio of the painter crowded: devoted pupils, aspiring rivals: enthusiasm, emulation, excellence. Here the long-lost feudal-art of colouring gla.s.s re-discovered; there fresco-painting entirely revived, and on the grandest scale; while the ardent researches of another man of genius successfully a.n.a.lyses the encaustic tenting of Herculaneum, and secures the secret process for the triumph of modern Art. I beheld a city such as I had mused over amid the crumbling fanes of Pericles, or, aided alike by memory and fancy, had conjured up in the palaces and gardens of the Medici.

Such is Munich, a city which, half a century ago, was the gross and corrupt capital of a barbarous and brutal people. Baron Reisbech, who visited Bavaria in 1780, describes the Court of Munich as one not at all more advanced than those of Lisbon and Madrid. A good-natured prince, fond only of show and thinking only of the chase; an idle, dissolute, and useless n.o.bility; the nomination to offices depending on women and priests; the aristocracy devoted to play, and the remainder of the inhabitants immersed in scandalous debauch.

With these recollections of the past, let us enter the palace of the present sovereign. With habits of extreme simplicity, and a personal expenditure rigidly economical, the residence of the King of Bavaria, when completed, will be the most extensive and the most sumptuous palace in the world. But, then, it is not merely the palace of a king: it is a temple dedicated to the genius of a nation. The apartments of state, painted in fresco on the grandest scale, bold in design, splendid in colour, breathe the very Teutonic soul. The subjects are taken from the 'Nibelungenlied,' the Gothic epic, and commemorate all the achievements of the heroic Siegfried, and all the adventures of the beautiful Chrimhilde. The heart of a German beats as he gazes on the forms and scenes of the Teutonic Iliad; as he beholds Haghen the fierce, and Dankwart the swift; Volker, the minstrel knight, and the beautiful and haughty Brunhilda. But in point of harmonious dimension and august beauty, no chamber is perhaps more imposing than the Kaiser Saal, or Hall of the Sovereigns. It is, I should think, considerably above one hundred feet in length, broad and lofty in exact proportion. Its roof is supported on either side by columns of white marble; the inter-columniations are filled by colossal statues, of gilded bra.s.s, of the electors and kings of the country. Seated on his throne, at the end of this imperial chamber, Louis of Bavaria is surrounded by the solemn majesty of his ancestors. These statues are by Schwanthaler, a sculptor who to the severe and cla.s.sic taste and profound sentiment of his master, Thorwaldsen, unites an exuberance of invention which has filled Munich with the greatest works since Phidias. Cornelius, Julius Schnorr, and Hess are the princ.i.p.al painters who have covered the galleries, churches, and palaces of Munich with admirable frescoes. The celebrated Klenze is known throughout Europe as the first of living architects, and the favourite of his sovereign when that sovereign did not wear a crown; but we must not forget the name of Gartner, the architect who has revived the Byzantine style of building with such admirable effect.

But it was in the private apartments of the king that I was peculiarly impressed with the supreme genius of Schwanthaler. These chambers, eight in number, are painted in encaustic, with subjects from the Greek poets, of which Schwanthaler supplied the designs. The ante-chambers are devoted to Orpheus and Hesiod, and the ornaments are in the oldest Greek style; severely simple; archaic, but not rude; the figures of the friezes in outline, and without relief. The saloon of reception, on the contrary, is Homeric; and in its colouring, design, and decoration, as brilliant, as free, and as flowing as the genius of the great Maeonian.

The chamber of the throne is entirely adorned with white bas-reliefs, raised on a ground of dead gold; the subjects Pindaric; not inferior in many instances to the Attic remains, and characterised, at the same time, by a singular combination of vigour and grace. Another saloon is devoted to aeschylus, and the library to Sophocles. The gay, wild muse of Aristophanes laughs and sings in his Majesty's dressing-room; while the king is lulled to slumber by the Sicilian melodies and the soothing landscapes of Theocritus.

Of these chambers, I should say that they were a perfect creation of Art. The rooms themselves are beautifully proportioned; the subjects of their decorations are the most interesting in every respect that could be selected; and the purity, grace, and invention of the designs, are equalled only by their colouring, at the same time the most brilliant and harmonious that can be conceived; and the rich fancy of the arabesques and other appropriate decorations, which blend with all around, and heighten the effect of the whole. Yet they find no mean rivals in the private chambers of the queen, decorated in an a.n.a.logous style, but entirely devoted to the poets of her own land. The Minnesingers occupy her first apartments, but the brilliant saloon is worthy of Wieland, whose Oberon forms it frieze; while the bedchamber gleams with the beautiful forms and pensive incidents of Goethe's esoteric pen. Schiller has filled the study with his stirring characters and his vigorous incidents. Groups from 'Wallenstein' and 'Wilhelm Tell'

form the rich and unrivalled ceiling: while the fight of the dragon and the founding of the bell, the innocent Fridolin, the inspired maiden of Orleans, breathe in the compartments of the walls.

When I beheld these refined creations, and recalled the scenes and sights of beauty that had moved before me in my morning's wanderings, I asked myself, how Munich, recently so Boeotian, had become the capital of modern Art; and why a country of limited resources, in a brief s.p.a.ce, and with such facility and completeness, should have achieved those results which had so long and utterly eluded the desires of the richest and most powerful community in the world?

It is the fashion of the present age to underrate the influence of individual character. For myself, I have ever rejected this consolation of mediocrity. I believe that everything that is great has been accomplished by great men. It is not what witnessed at Munich, or know of its sovereign, that should make me doubt the truth of my conviction.

Munich is the creation of its king, and Louis of Bavaria is not only a king but a poet. A poet on a throne has realised his dreams.

THE SPIRIT OF WHIGGISM

_[In the following pages Lord Beaconsfield expounds that theory of the English Const.i.tution which he had previously set forth in his pamphlet 'A Vindication of the English Const.i.tution in a Letter to a n.o.ble and Learned Lord.' The same theory is expounded in another way in the three great novels, 'Coningsby,' 'Sybil,' and 'Tancred.' His contemporaries never seem to have understood it, while his a.s.sailants of a later date appear to have written and spoken concerning him in absolute ignorance of his real political creed. The concluding paragraph of the tract ought, in the minds of all candid men, to disperse at once and forever the innumerable calumnies levelled at Lord Beaconsfield during and since the Reform struggle of 1859-1867.]_

CHAPTER I.

_Object of the Whigs_

ENGLAND has become great by her inst.i.tutions. Her hereditary Crown has in a great degree insured us from the distracting evils of a contested succession; her Peerage, interested, from the vast property and the national honours of its members, in the good government of the country, has offered a compact bulwark against the temporary violence of popular pa.s.sion; her House of Commons, representing the conflicting sentiments of an estate of the realm not less privileged than that of the Peers, though far more numerous, has enlisted the great ma.s.s of the lesser proprietors of the country in favour of a political system which offers them a const.i.tutional means of defence and a legitimate method of redress; her Ecclesiastical Establishment, preserved by its munificent endowment from the fatal necessity of pandering to the erratic fancies of its communicants, has maintained the sacred cause of learning and religion, and preserved orthodoxy while it secured toleration; her law of primogeniture has supplied the country with a band of natural and independent leaders, trustees of those legal inst.i.tutions which pervade the land, and which are the origin of our political const.i.tution. That great body corporate, styled a nation-a vast a.s.semblage of human beings knit together by laws and arts and customs, by the necessities of the present and the memory of the past--offers in this country, through these its vigorous and enduring members, a more substantial and healthy framework than falls to the lot of other nations. Our stout-built const.i.tution throws off with more facility and safety those crude and dangerous humours which must at times arise in all human communities.

The march of revolution must here at least be orderly. We are preserved from those reckless and tempestuous sallies that in other countries, like a whirlwind, topple down in an instant an ancient crown, or sweep away an ill.u.s.trious aristocracy. This const.i.tution, which has secured order, has consequently promoted civilisation; and the almost unbroken tide of progressive amelioration has made us the freest, the wealthiest, and the most refined society of modern ages. Our commerce is unrivalled, our manufacturers supply the world, our agriculture is the most skilful in Christendom. So national are our inst.i.tutions, so completely have they arisen from the temper and adapted themselves to the character of the people, that when for a season they were apparently annihilated, the people of England voluntarily returned to them, and established them with renewed strength and renovated vigour.

The const.i.tution of England is again threatened, and at a moment when the nation is more prosperous, more free, and more famous than at any period of its momentous and memorable career. Why is this? What has occasioned these distempered times, which make the loyal tremble and the traitor smile? Why has this dark cloud suddenly gathered in a sky so serene and so splendid? Is there any a.n.a.logy between this age and that of the first Charles? Are the same causes at work, or is the apparent similarity produced only by designing men, who make use of the perverted past as a pa.s.sport to present mischief? These are great questions, which it may be profitable to discuss and wise to study.

Rapin, a foreigner who wrote our history, in the course of his frigid yet accurate pages, indulged in one philosophical observation. Struck at the same time by our greatness and by the fury of our factions, the Huguenot exclaimed: 'It appears to me that this great society can only be dissolved by the violence of its political parties.' What are these parties? Why are they violent? Why should they exist? In resolving these questions, we may obtain an accurate idea of our present political position, and by pondering over the past we may make that past not a prophecy, as the disaffected intend, but a salutary lesson by which the loyal may profit.

The two great parties into which England has during the last century and a half been divided originated in the ancient struggle between the Crown and the aristocracy. As long as the Crown possessed or aspired to despotic power, the feeling of the nation supported the aristocracy in their struggles to establish a free government. The aristocracy of England formed the const.i.tution of the Plantagenets; the Wars of the Roses destroyed that aristocracy, and the despotism of the Tudors succeeded. Renovated by more than a century of peace and the spoils of the Papacy, the aristocracy of England attacked the first Stuarts, who succeeded to a despotism which they did not create. When Charles the First, after a series of great concessions which ultimately obtained for him the support of the most ill.u.s.trious of his early opponents, raised the royal standard, the const.i.tution of the Plantagenets, and more than the const.i.tution of the Plantagenets, had been restored and secured. But a portion of the able party which had succeeded in effecting such a vast and beneficial revolution was not content to part with the extraordinary powers which they had obtained in this memorable struggle. This section of the aristocracy were the origin of the English Whigs, though that t.i.tle was not invented until the next reign. The primitive Whigs-'Parliament-men,' as they liked to call themselves, 'Roundheads,'

as they were in time dubbed--aspired to an oligarchy. For a moment they obtained one; but unable to maintain themselves in power against the returning sense and rising spirit of a generous and indignant people, they called to their aid that domestic revolutionary party which exists in all countries, and an anti-national enemy in addition. These were the English Radicals, or Root-and-Branch men, and the Scotch Covenanters. To conciliate the first they sacrificed the Crown; to secure the second they abolished the Church. The const.i.tution of England in Church and State was destroyed, and the Whig oligarchy, in spite of their machinations, were soon merged in the common ruin.

The ign.o.ble tyranny to which this great nation was consequently subject produced that reaction which is in the nature of human affairs. The ancient const.i.tution was in time restored, and the Church and the Crown were invested with greater powers than they had enjoyed previously to their overthrow. So hateful had been the consequences of Whig rule, that the people were inclined rather to trust the talons of arbitrary power than to take refuge under the wing of these pretended advocates of popular rights. A worthless monarch and a corrupted court availed themselves of the offered opportunity; and when James the Second ascended the throne, the nation was again prepared to second the aristocracy in a struggle for their liberties. But the Whigs had profited by their previous experiment: they resolved upon a revolution, but they determined that that revolution should be brought about by as slight an appeal to popular sympathies as possible. They studiously confined that appeal to the religious feelings of the nation. They hired a foreign prince and enlisted a foreign army in their service. They dethroned James, they established themselves in power without the aid of the ma.s.s; and had William the Third been a man of ordinary capacity, the const.i.tution of Venice would have been established in England in 1688.

William the Third told the Whigs that he would never consent to be a Doge. Resembling Louis Philippe in his character as well as in his position, that extraordinary prince baffled the Whigs by his skilful balance of parties; and had Providence accorded him an heir, it is probable that the oligarchical faction would never have revived in England. The Whigs have ever been opposed to the national inst.i.tutions because they are adverse to the establishment of an oligarchy. Local inst.i.tutions, supported by a landed gentry, check them; hence their love of centralisation and their hatred of unpaid magistrates.

An independent hierarchy checks them; hence their affected advocacy of toleration and their patronage of the Dissenters. The power of the Crown checks them; therefore they always labour to reduce the sovereign to a nonent.i.ty, and by the establishment of the Cabinet they have virtually banished the King from his own councils. But, above all, the Parliament of England checks them, and therefore it may be observed that the Whigs at all times are quarrelling with some portion of those august estates.

They despair of destroying the Parliament; by it, and by it alone, can they succeed in their objects. Corruption for one part, force for the other, then, is their motto. In 1640 they attempted to govern the country by the House of Commons, because the aristocracy was then more powerful in the House of Commons than in the House of Lords, where a Peerage, exhausted by civil wars, had been too liberally recruited from the courtiers of the Tudors and the Stuarts. At the next revolution which the Whigs occasioned, they attempted to govern the country by the House of Lords, in which they were predominant; and, in order to guarantee their power for ever, they introduced a Bill to deprive the King of his prerogative of making further Peers. The revolution of 1640 led to the abolition of the House of Lords because the Lords opposed the oligarchy. Having a majority in the House of Lords, the Whigs introduced the Peerage Bill, by which the House of Lords would have been rendered independent of the sovereign; unpopular with the country, the Whigs attacked the influence of popular election, and the moment that, by the aid of the most infamous corruption, they had obtained a temporary majority in the Lower House, they pa.s.sed the Septennial Act.

The Whigs of the eighteenth century 'swamped' the House of Commons; the Whigs of the nineteenth would 'swamp' the House of Lords. The Whigs of the eighteenth century would have rendered the House of Lords unchangeable; the Whigs of the nineteenth remodel the House of Commons.

I conclude here the first chapter of the 'Spirit of Whiggism'-a little book which I hope may be easily read and easily remembered. The Whig party have always adopted popular cries. In one age it is Liberty, in another reform; at one period they sound the tocsin against popery, in another they ally themselves with papists. They have many cries, and various modes of conduct; but they have only one object--the establishment of an oligarchy in this free and equal land. I do not wish this country to be governed by a small knot of great families, and therefore I oppose the Whigs.

CHAPTER II.

_Parliamentary Reform_