Turner Part 8

But now these "failures," for failures they were, however fine the art qualities they possessed, became chronic, and the rule rather than the exception; and this is to us the greatest tragedy in the whole of his career--the spectacle of a great painter, the very slave of his genius, compelled to paint this and paint that at its bidding without being able to distinguish between what was great and what was little, what sublime and what ridiculous, almost as mighty as Milton and Sh.e.l.ley one moment, and as poor as Blackmore or Robert Montgomery the next. He appears to us in these last days like a great ship, rudderless, but still grand and with all sails set, at the mercy of the wind, which played with it a little while and then cast it on the rocks.

Rudderless, masterless, was he also as a man. We are very loth to believe the terrible picture of moral degradation supplied by the "best authority" to Mr. Thornbury, and quoted in the first chapter of this volume; but there is no doubt that he lived by no means a reputable life in his old age. As to how he met with Mrs. Booth, at whose little house by the side of the Thames, near Cremorne, he lived for some time before his death, we have not cared to inquire, nor do we intend to repeat the usual stories about it; nor will we venture an opinion as to how often he took too much to drink or what was his favourite stimulant, or what other excesses he committed. His whole faculties had been absorbed in his art; and when this failed him--when he became broken in health and failing in sight--he had no store of wise reflection to employ his mind, no harmless pursuits to follow, no refined tastes to amuse him, nor, as far as we know, had he any hope of any future rectification of the unevennesses of this world. Some of his friends he had lost by death, many were still living and ready to cheer his last years if he would have had them, but he would not. His secretiveness and love of solitude clung to him to the last.

He did not, however, lose his love of art and his desire of acquiring knowledge relating to it. It was in these last years, 1847-49, that he paid several visits to the studio of Mr. Mayall, the celebrated photographic artist, pa.s.sing himself off as a Master in Chancery, and taking very great interest in the development of the new process which had not then got beyond the daguerreotype. To the interesting account of these visits printed by Mr. Thornbury,[47] we are enabled by Mr.

Mayall's kindness to add that at a time when his finances were at a very low ebb in consequence of litigation about patent rights, Turner unasked, brought him a roll of bank-notes, to the amount of 300, and gave it him on the understanding that he was to repay him if he could.

This, Mr. Mayall was able to do very soon, but that does not lessen the generosity of Turner's act.

Notwithstanding, however, such bright glimpses as this, his last years must have been sad and dull, and his greatest source of happiness was probably the knowledge that whatever critics might say of his later works, there were a few men like Mr. Munro, Mr. Griffiths, the Ruskins, father and son, who appreciated them, and that his earlier pictures not only kept up their fame but rose in price. Though in decline, his fame was as great as almost he could have wished. Two offers of 100,000 he is said to have refused for the contents of Queen Anne Street; 5,000 for his two _Carthages_. The greatest of all his triumphs was perhaps when he was waited upon by Mr. Griffiths, with an offer from a distinguished Committee, among whom were Sir Robert Peel, Lord Hardinge, and others, to buy these pictures for the nation. This is the greatest instance of his self-sacrifice, which is well attested; for he refused to part with them because he had willed them to the nation. He might have got the money and his wish also, but he refused. The recollection of this, though it occurred some years before he died, should have afforded him some pleasant reflections.

It had been long known that Turner had another home than that in Queen Anne Street, and he had shown considerable ingenuity in concealing it, for he used to go out of an evening to dinner with his friends when he so willed, and met them at the Academy and other places. Almost to the last he could be merry and sociable at such gatherings, and there is a very pleasant account of a dinner in 1850 at David Roberts' house, given in a note to Ballantyne's life of that artist, at which Turner was. It is a memorandum by an artist from the country, and describes Turner's manner as--

"Very agreeable, his quick bright eye sparkled, and his whole countenance showed a desire to please. He was constantly making or trying to make jokes; his dress, though rather old-fashioned, was far from being shabby." Turner's health was proposed by an Irish gentleman who had attended his lectures on perspective, on which he complimented the artist. "Turner made a short reply in a jocular way, and concluded by saying, rather sarcastically, that he was glad this honourable gentleman had profited so much by his lectures as thoroughly to understand perspective, for it was more than he did." Turner afterwards, in Roberts' absence, took the chair, and, at Stanfield's request, proposed Roberts' health, which he did, speaking hurriedly, "but soon ran short of words and breath, and dropped down on his chair with a hearty laugh, starting up again and finishing with a 'hip, hip, hurrah!'.... Turner was the last who left, and Roberts accompanied him along the street to hail a cab.... At this time Turner was indulging in the singular freak of living, under the name of Mr. Booth, in a small lodging on the banks of the Thames.... This, though now cleared up, was a mystery to his friends then, and Roberts was anxious to unravel it. When the cab drove up he a.s.sisted Turner to his seat, shut the door, and asked where he should tell cabby to take him; but Turner was not to be caught, and, with a knowing wink, replied, 'Tell him to drive to Oxford Street, and then I'll direct him where to go.'"

Turner not only kept his secret from his friends, but from Mrs. Danby, who, says Mr. Thornbury--

"One day, as she was brushing an old coat of Turner's, in turning out a pocket, she found and pounced on a letter directed to him, and written by a friend who lived at Chelsea. Mrs. Danby, it appears, came to the conclusion that Turner himself was probably at Chelsea, and went there to seek for him, in company with another infirm old woman. From inquiries in a place by the river-side, where gingerbread was sold, they came to the conclusion that Turner was living in a certain small house close by, and informed a Mr.

Harpur,[48] whom she and Turner knew. He went to the place and found the painter sinking. This was on the 18th of December, 1851, and on the following day Turner died."

So died the great solitary genius, Turner, the first of all men to endeavour to paint the full power of the sun, the greatest imagination that ever sought expression in landscape, the greatest pictorial interpreter of the elemental forces of nature, that ever lived. His life, and character, and art, complex as they were in their manifestation, were as simple in motive as those of the most ordinary man. Art, fame, and money were what he strived for from the beginning to the end of his days, and those days were embittered at the end by fallacies of hope with regard to all three. Critics laughed at him, he was given no social honour, (neither knighted nor made President of the Royal Academy), and his money was useless. For the meanness and isolation of his existence he had no one to thank but himself, but this was also, as we hope we have shown in the course of these pages, the natural result of the motives of his life.

[Ill.u.s.tration: THE ROOM IN WHICH TURNER DIED.]

The n.o.bleness of his life consisted in his devotion to landscape art, and this should cover many sins. He found it sunk very low: he left it raised to a height which it had never attained before. That he could have done this by painting falsely is absurd. The falsity of his works is just of that kind which comes from almost infinite knowledge of truth. He knew little else but art and nature, and he knew these by heart. He could make nature, and this confidence in his creative power led him sometimes into strange errors, which no one else could have made, such as putting the sun and moon in impossible positions in the same picture, and making boats sail in opposite directions before the wind; but how much more truth of natural phenomena has he not given even in such pictures than can be found in any literal transcript of nature!

His colour appears to many to be untrue; but this is greatly due to his clinging from first to last to one central truth--the sun. It was that which gave the pitch to his light, and his colour too, as in nature. To that great light all must be subservient; it is not the local colour of an object in the foreground, or the strength of shade of a particular cave, that controls the chiaroscuro and colouring of nature, but the sun. So all things were sacrificed to this; the green must go from the gra.s.s, and the shadows must become scarlet, rather than this truth should be lost. His preference for harmonies of blue, red, and yellow, to the exclusion of green, never giving, as Mr. Leslie pointed out, the "verdure" of England, is remarkable; he is the only artist we know who, instead of the usual "bit of red," to correct the green of a landscape, introduces a bit of "green" (generally harsh crude green), to correct its too great redness. (See, for instance, the ap.r.o.n of the woman in the left-hand corner of his drawing of Rouen Cathedral for the "Rivers of France.") His constant fault, and, as we think, an inexcusable one, is the careless drawing of his figures. It is not an excuse to say that they must not be painted so as to draw attention from the landscape; first, because Turner in his earlier pictures showed that he could introduce well-finished figures without doing this; and secondly, because Turner's figures in his later pictures do this by their badness.

This carelessness gradually grew on him, because he would not take pains with them. He could draw very small figures very well, giving more spirit and essence than any other artist, in a touch. He could indicate a shamble, a strut, a march, la.s.situde, confidence, any physical or mental quality of a figure as easily as he could a bough or a cloud; but when he had to draw a figure to which time must be given, to perfect a definite, complex, organized form, he scamped it. His indication of the spirit of animals is often wonderful, as in the deer in _Arundel Park_, and the dogs in _Troyes_.

Of Turner's mind and character apart from his art not much can be said in praise. The former we have already said so much about that we need only say here that although not of a very high order, except in sensibility and perception, he showed now and then capacities which might have been turned to good account by more generous training.

Although his jokes were mainly practical, or of that kind which is understood by the term "waggery;" a few good things which he said have been reported, such for instance as that "indistinctness was his forte;"

and though his poetry is generally miserable, it here and there contains a fine expression. It is remarkable, however, how both his wit, and what is good in his poetry, are connected with his art. He never said a thing worth recording about anything else, and the few good bits in his poetry are all reflections of a pictorial image. The utter helplessness of his mind, when he tried to put his reasoning into words, is shown by Mr.

Hamerton, in one wonderful extract. (See his "Life of Turner," p. 143.) We do not wonder that his attempts at teaching (though he is said at one time in his youth to have got as much as a guinea a lesson) and his lectures as a professor of perspective were failures.

As to his character, it was mainly negative, on all points except art and money. The best part of it was the tenderness of his heart; but though we have no doubt about this fact, or that he could occasionally in his later years be generous even in money,[49] this does not raise our opinion of him much, for he had more than he wished to spend. If he was remarkable for kind and generous impulses, he was still more remarkable for the success with which he, in general, controlled them.

We cannot dispute Mr. Ruskin's a.s.sertion that he never "failed in an undertaken trust," but we have yet to learn that he ever undertook one.

If it be really true that, unasked and without any question of repayment, he gave a sum of many thousand pounds on more than one occasion to the son of one of his friends and patrons, such an act deserves more accurate record and complete proof. The money was repaid in both cases, it is said.

He showed his best disposition in his kindness to children and animals, and his fellow-artists. Of the last he always spoke kindly, and to young or old was ever just and kind and patient. Poor Haydon said that he "did him justice;" he a.s.sisted many a young man with a useful hint, and once took down one of his pictures at the Academy to find a place for one of an unknown man. He took great interest in the founding of the Artists'

Benevolent Fund, and meant his acc.u.mulated wealth to be spent in a home for decayed artists.

There is no doubt that long before he died he felt the uselessness of wealth and a desire to dispose of his own in a good way. The only proof we have of his notions of a good way is his will, and that, as we have already said, is not an unselfish doc.u.ment, and the codicils which he added to it from 1831 to 1849 do not show any increase of unselfishness.

On the contrary, he revoked his legacies to his uncles and cousins, and left his finished pictures to form a Turner Gallery, and money to found a Turner medal and a monument to himself in St. Paul's Cathedral.

The will and its codicils were so confused that all the legal ability of England was unable to decide what Turner really wanted to be done with his money, and after years of miserable litigation, during which a large portion of it was wasted in legal expenses, a compromise was effected, in which the wishes of the parties to the suits and others concerned, including the nation and the Royal Academy, were consulted rather than the wishes of the testator: his desire to found a charity for decayed artists, the only thing upon which his mind seems to have been fixed from first to last in these puzzled doc.u.ments, was over--thrown, and his next of kin, the only persons mentioned in his will whom he certainly did not mean to get a farthing, got the bulk of the property (excepting the pictures). We have no doubt it was quite right; we are very glad the nation got all the pictures and drawings, finished and unfinished, and the Royal Academy 20,000; that there are a Turner medal and a Turner Gallery, and we think that the next of kin should have had a great deal of his money: but surely the greatest fallacy of all Turner's hope was that his will would be construed according to his intentions.

Two of his wishes with regard to himself were, however, fully carried out--his desire to be buried in St. Paul's and the expenditure of 1,000 on his monument. His funeral was conducted with considerable pomp and ceremony, his "gifted talents," to use his own words, "acknowledged by the many," and many of his fellow-artists and admirers followed him to the grave; nor amongst the crowd were wanting a few old friends who in their hearts still cherished him as "dear old Turner."

[Ill.u.s.tration: "DATUR BORA QUIETI."]

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