Modern Painters.

Volume IV.

by John Ruskin.

PREFACE.

I was in hopes that this volume might have gone its way without preface; but as I look over the sheets, I find in them various fallings short of old purposes which require a word of explanation.

Of which shortcomings, the chief is the want of reference to the landscape of the Poussins and Salvator; my original intention having been to give various examples of their mountain-drawing, that it might be compared with Turner's. But the ten years intervening between the commencement of this work and its continuation have taught me, among other things, that Life is shorter and less availably divisible than I had supposed: and I think now that its hours may be better employed than in making facsimiles of bad work. It would have required the greatest care, and prolonged labor, to give uncaricatured representations of Salvator's painting, or of any other work depending on the free dashes of the brush, so as neither to mend nor mar it. Perhaps in the next volume I may give one or two examples a.s.sociated with vegetation; but in general, I shall be content with directing the reader's attention to the facts in nature, and in Turner; leaving him to carry out for himself whatever comparisons he may judge expedient.

I am afraid, also, that disappointment may be felt at not finding plates of more complete subject ill.u.s.trating these chapters on mountain beauty.

But the a.n.a.lysis into which I had to enter required the dissection of drawings, rather than their complete presentation; while, also, on the scale of any readable page, no effective presentation of large drawings could be given. Even my vignette, the frontispiece to the third volume, is partly spoiled by having too little white paper about it; and the fiftieth plate, from Turner's Goldau, necessarily omits, owing to its reduction, half the refinements of the foreground. It is quite waste of time and cost to reduce Turner's drawings at all; and I therefore consider these volumes only as _Guides_ to them, hoping hereafter to ill.u.s.trate some of the best on their own scale.

Several of the plates appear, in their present position, nearly unnecessary; +14+ and +15+, for instance, in Vol. III. These are ill.u.s.trations of the chapters on the Firmament in the fifth volume; but I should have had the plates disproportionately crowded at last, if I had put all that it needed in that volume; and as these two bear somewhat on various matters spoken of in the third, I placed them where they are first alluded to. The frontispiece has chief reference to the same chapters; but seemed, in its three divisions, properly introductory to our whole subject. It is a simple sketch from nature, taken at sunset from the hills near Como, some two miles up the eastern side of the lake and about a thousand feet above it, looking towards Lugano. The sky is a little too heavy for the advantage of the landscape below; but I am not answerable for the sky. It was _there_.[A]

In the mult.i.tudinous letterings and references of this volume there may possibly be one or two awkward errata; but not so many as to make it necessary to delay the volume while I look it over again in search of them. The reader will perhaps be kind enough to note at once that in page 182, at the first line of the text, the words "general truth" refer to the angle-measurements, not to the diagrams; which latter are given merely for reference, and might cause some embarra.s.sment if the statement of measured accuracy were supposed to refer to them.

One or two graver misapprehensions I had it in my mind to warn the reader against; but on the whole, as I have honestly tried to make the book intelligible, I believe it will be found intelligible by any one who thinks it worth a careful reading; and every day convinces me more and more that no warnings can preserve from misunderstanding those who have no desire to understand.

Denmark Hill, March, 1856.

FOOTNOTES

[A] Persons unacquainted with hill scenery are apt to forget that the sky of the mountains is often close to the spectator. A black thundercloud may literally be dashing itself in his face, while the blue hills seen through its rents maybe thirty miles away. Generally speaking, we do not enough understand the nearness of many clouds, even in level countries, as compared with the land horizon. See also the close of -- 12 in Chap. III of this volume.

PART V.

OF MOUNTAIN BEAUTY.

CHAPTER I.

OF THE TURNERIAN PICTURESQUE.

-- 1. THE work which we proposed to ourselves, towards the close of the last volume, as first to be undertaken in this, was the examination of those peculiarities of system in which Turner either stood alone, even in the modern school, or was a distinguished representative of modern, as opposed to ancient practice.

And the most interesting of these subjects of inquiry, with which, therefore, it may be best to begin, is the precise form under which he has admitted into his work the modern feeling of the picturesque, which, so far as it consists in a delight in ruin, is perhaps the most suspicious and questionable of all the characters distinctively belonging to our temper, and art.

It is especially so, because it never appears, even in the slightest measure, until the days of the decline of art in the seventeenth century. The love of neatness and precision, as opposed to all disorder, maintains itself down to Raphael's childhood without the slightest interference of any other feeling; and it is not until Claude's time, and owing in great part to his influence, that the new feeling distinctly establishes itself.

Plate +18+ shows the kind of modification which Claude used to make on the towers and backgrounds of Ghirlandajo; the old Florentine giving his idea of Pisa, with its leaning tower, with the utmost neatness and precision, and handsome youth riding over neat bridges on beautiful horses; Claude reducing the delicate towers and walls to unintelligible ruin, the well built bridge to a rugged stone one, the handsome rider to a weary traveller, and the perfectly drawn leaf.a.ge to confusion of copse-wood or forest.[1]

How far he was right in doing this; or how far the moderns are right in carrying the principle to greater excess, and seeking always for poverty-stricken rusticity or pensive ruin, we must now endeavor to ascertain.

The essence of picturesque character has been already defined[2] to be a sublimity not inherent in the nature of the thing, but caused by something external to it; as the ruggedness of a cottage roof possesses something of a mountain aspect, not belonging to the cottage as such.

And this sublimity may be either in mere external ruggedness, and other visible character, or it may lie deeper, in an expression of sorrow and old age, attributes which are both sublime; not a dominant expression, but one mingled with such familiar and common characters as prevent the object from becoming perfectly pathetic in its sorrow, or perfectly venerable in its age.

-- 2. For instance, I cannot find words to express the intense pleasure I have always in first finding myself, after some prolonged stay in England, at the foot of the old tower of Calais church. The large neglect, the n.o.ble unsightliness of it; the record of its years written so visibly, yet without sign of weakness or decay; its stern wasteness and gloom, eaten away by the Channel winds, and overgrown with the bitter sea gra.s.ses; its slates and tiles all shaken and rent, and yet not falling; its desert of brickwork full of bolts, and holes, and ugly fissures, and yet strong, like a bare brown rock; its carelessness of what any one thinks or feels about it, putting forth no claim, having no beauty nor desirableness, pride nor grace; yet neither asking for pity; not, as ruins are, useless and piteous, feebly or fondly garrulous of better days; but useful still, going through its own daily work,--as some old fisherman beaten grey by storm, yet drawing his daily nets: so it stands, with no complaint about its past youth, in blanched and meagre ma.s.siveness and serviceableness, gathering human souls together underneath it; the sound of its bells for prayer still rolling through its rents; and the grey peak of it seen far across the sea, princ.i.p.al of the three that rise above the waste of surfy sand and hillocked sh.o.r.e,--the lighthouse for life, and the belfry for labor, and this for patience and praise.

-- 3. I cannot tell the half of the strange pleasures and thoughts that come about me at the sight of that old tower; for, in some sort, it is the epitome of all that makes the Continent of Europe interesting, as opposed to new countries; and, above all, it completely expresses that agedness in the midst of active life which binds the old and the new into harmony. We, in England, have our new street, our new inn, our green shaven lawn, and our piece of ruin emergent from it,--a mere _specimen_ of the middle ages put on a bit of velvet carpet to be shown, which, but for its size, might as well be on the museum shelf at once, under cover. But, on the Continent, the links are unbroken between the past and present, and in such use as they can serve for, the grey-headed wrecks are suffered to stay with men; while, in unbroken line, the generations of spared buildings are seen succeeding each in its place.

And thus in its largeness, in its permitted evidence of slow decline, in its poverty, in its absence of all pretence, of all show and care for outside aspect, that Calais tower has an infinite of symbolism in it, all the more striking because usually seen in contrast with English scenes expressive of feelings the exact reverse of these.

-- 4. And I am sorry to say that the opposition is most distinct in that n.o.ble carelessness as to what people think of it. Once, on coming from the Continent, almost the first inscription I saw in my native English was this:

+"TO LET, A GENTEEL HOUSE, UP THIS ROAD."+

And it struck me forcibly, for I had not come across the idea of gentility, among the upper limestones of the Alps, for seven months; nor do I think that the Continental nations in general _have_ the idea.

They would have advertised a "pretty" house or a "large" one, or a "convenient" one; but they could not, by any use of the terms afforded by their several languages, have got at the English "genteel." Consider, a little, all the meanness that there is in that epithet, and then see, when next you cross the Channel, how scornful of it that Calais spire will look.

-- 5. Of which spire the largeness and age are also opposed exactly to the chief appearances of modern England, as one feels them on first returning to it; that marvellous smallness both of houses and scenery, so that a ploughman in the valley has his head on a level with the tops of all the hills in the neighborhood; and a house is organized into complete establishment,--parlor, kitchen, and all, with a knocker to its door, and a garret window to its roof, and a bow to its second story,[3]

on a scale of twelve feet wide by fifteen high, so that three such at least would go into the granary of an ordinary Swiss cottage: and also our serenity of perfection, our peace of conceit, everything being done that vulgar minds can conceive as wanting to be done; the spirit of well-principled housemaids everywhere, exerting itself for perpetual propriety and renovation, so that nothing is old, but only "old-fashioned," and contemporary, as it were, in date and impressiveness only with last year's bonnets. Abroad, a building of the eighth or tenth century stands ruinous in the open street; the children play round it, the peasants heap their corn in it, the buildings of yesterday nestle about it, and fit their new stones into its rents, and tremble in sympathy as it trembles. No one wonders at it, or thinks of it as separate, and of another time; we feel the ancient world to be a real thing, and one with the new: antiquity is no dream; it is rather the children playing about the old stones that are the dream. But all is continuous; and the words, "from generation to generation,"

understandable there. Whereas here we have a living present, consisting merely of what is "fashionable" and "old-fashioned;" and a past, of which there are no vestiges; a past which peasant or citizen can no more conceive; all equally far away; Queen Elizabeth as old as Queen Boadicea, and both incredible. At Verona we look out of Can Grande's window to his tomb; and if he does not stand beside us, we feel only that he is in the grave instead of the chamber,--not that he is _old_, but that he might have been beside us last night. But in England the dead are dead to purpose. One cannot believe they ever were alive, or anything else than what they are now--names in school-books.

-- 6. Then that spirit of trimness. The smooth paving-stones; the sc.r.a.ped, hard, even, rutless roads; the neat gates and plates, and essence of border and order, and spikiness and spruceness. Abroad, a country-house has some confession of human weakness and human fates about it. There are the old grand gates still, which the mob pressed sore against at the Revolution, and the strained hinges have never gone so well since; and the broken greyhound on the pillar--still broken--better so; but the long avenue is gracefully pale with fresh green, and the courtyard bright with orange-trees; the garden is a little run to waste--since Mademoiselle was married n.o.body cares much about it; and one range of apartments is shut up--n.o.body goes into them since Madame died. But with us, let who will be married or die, we neglect nothing. All is polished and precise again next morning; and whether people are happy or miserable, poor or prosperous, still we sweep the stairs of a Sat.u.r.day.[4]

-- 7. Now, I have insisted long on this English character, because I want the reader to understand thoroughly the opposite element of the n.o.ble picturesque; its expression, namely, of _suffering_, of _poverty_, or _decay_, n.o.bly endured by unpretending strength of heart. Nor only unpretending, but unconscious. If there be visible pensiveness in the building, as in a ruined abbey, it becomes, or claims to become, beautiful; but the picturesqueness is in the unconscious suffering,--the look that an old laborer has, not knowing that there is anything pathetic in his grey hair, and withered arms, and sunburnt breast; and thus there are the two extremes, the consciousness of pathos in the confessed ruin, which may or may not be beautiful, according to the kind of it; and the entire denial of all human calamity and care, in the swept proprieties and neatness of English modernism: and, between these, there is the unconscious confession of the facts of distress and decay, in by-words; the world's hard work being gone through all the while, and no pity asked for, nor contempt feared. And this is the expression of that Calais spire, and of all picturesque things, in so far as they have mental or human expression at all.

-- 8. I say, in so far as they have mental expression, because their merely outward delightfulness--that which makes them pleasant in painting, or, in the literal sense, picturesque--is their actual variety of color and form. A broken stone has necessarily more various forms in it than a whole one; a bent roof has more various curves in it than a straight one; every excrescence or cleft involves some additional complexity of light and shade, and every stain of moss on eaves or wall adds to the delightfulness of color. Hence, in a completely picturesque object, as an old cottage or mill, there are introduced, by various circ.u.mstances not essential to it, but, on the whole, generally somewhat detrimental to it as cottage or mill, such elements of sublimity--complex light and shade, varied color, undulatory form, and so on--as can generally be found only in n.o.ble natural objects, woods, rocks, or mountains. This sublimity, belonging in a parasitical manner to the building, renders it, in the usual sense of the word, "picturesque."

[Ill.u.s.tration: 19. The Picturesque of Windmills.

1. Pure Modern. 2. Turnerian.]

-- 9. Now, if this outward sublimity be sought for by the painter, without any regard for the real nature of the thing, and without any comprehension of the pathos of character hidden beneath, it forms the low school of the surface-picturesque; that which fills ordinary drawing-books and sc.r.a.p-books, and employs, perhaps, the most popular living landscape painters of France, England, and Germany. But if these same outward characters be sought for in subordination to the inner character of the object, every source of pleasurableness being refused which is incompatible with that, while perfect sympathy is felt at the same time with the object as to all that it tells of itself in those sorrowful by-words, we have the school of true or n.o.ble picturesque; still distinguished from the school of pure beauty and sublimity, because, in its subjects, the pathos and sublimity are all _by the way_, as in Calais old spire,--not inherent, as in a lovely tree or mountain; while it is distinguished still more from the schools of the lower picturesque by its tender sympathy, and its refusal of all sources of pleasure inconsistent with the perfect nature of the thing to be studied.

-- 10. The reader will only be convinced of the broad scope of this law by careful thought, and comparison of picture with picture; but a single example will make the principle of it clear to him.

On the whole, the first master of the lower picturesque, among our living artists, is Clarkson Stanfield; his range of art being, indeed, limited by his pursuit of this character. I take, therefore, a windmill, forming the princ.i.p.al subject in his drawing of Brittany, near Dol (engraved in the Coast Scenery), Fig. 1, Plate +19+, and beside it I place a windmill, which forms also the princ.i.p.al subject in Turner's study of the Lock, in the Liber Studiorum. At first sight I dare say the reader may like Stanfield's best; and there is, indeed, a great deal more in it to attract liking. Its roof is nearly as interesting in its ruggedness as a piece of the stony peak of a mountain, with a chalet built on its side; and it is exquisitely varied in swell and curve.

Turner's roof, on the contrary, is a plain, ugly gable,--a windmill roof, and nothing more. Stanfield's sails are twisted into most effective wrecks, as beautiful as pine bridges over Alpine streams; only they do not look as if they had ever been serviceable windmill sails; they are bent about in cross and awkward ways, as if they were warped or cramped; and their timbers look heavier than necessary. Turner's sails have no beauty about them like that of Alpine bridges; but they have the exact switchy sway of the sail that is always straining against the wind; and the timbers form clearly the lightest possible framework for the canvas,--thus showing the essence of windmill sail. Then the clay wall of Stanfield's mill is as beautiful as a piece of chalk cliff, all worn into furrows by the rain, coated with mosses, and rooted to the ground by a heap of crumbled stone, embroidered with gra.s.s and creeping plants. But this is not a serviceable state for a windmill to be in. The essence of a windmill, as distinguished from all other mills, is, that it should turn round, and be a spinning thing, ready always to face the wind; as light, therefore, as possible, and as vibratory; so that it is in no wise good for it to approximate itself to the nature of chalk cliffs.

Now observe how completely Turner has chosen his mill so as to mark this great fact of windmill nature; how high he has set it; how slenderly he has supported it; how he has built it all of wood; how he has bent the lower planks so as to give the idea of the building lapping over the pivot on which it rests inside; and how, finally, he has insisted on the great leverage of the beam behind it, while Stanfield's lever looks more like a prop than a thing to turn the roof with. And he has done all this fearlessly, though none of these elements of form are pleasant ones in themselves, but tend, on the whole, to give a somewhat mean and spider-like look to the princ.i.p.al feature in his picture; and then, finally, because he could not get the windmill dissected, and show us the real heart and centre of the whole, behold, he has put a pair of old millstones, _lying outside_, at the bottom of it. These--the first cause and motive of all the fabric--laid at its foundation; and beside them the cart which is to fulfil the end of the fabric's being, and take home the sacks of flour.

-- 11. So far of what each painter chooses to draw. But do not fail also to consider the spirit in which it is drawn. Observe, that though all this ruin has befallen Stanfield's mill, Stanfield is not in the least sorry for it. On the contrary, he is delighted, and evidently thinks it the most fortunate thing possible. The owner is ruined, doubtless, or dead; but his mill forms an admirable object in our view of Brittany. So far from being grieved about it, we will make it our princ.i.p.al light;--if it were a fruit-tree in spring-blossom, instead of a desolate mill, we could not make it whiter or brighter; we illume our whole picture with it, and exult over its every rent as a special treasure and possession.

Not so Turner. _His_ mill is still serviceable; but, for all that, he feels somewhat pensive about it. It is a poor property, and evidently the owner of it has enough to do to get his own bread out from between its stones. Moreover, there is a dim type of all melancholy human labor in it,--catching the free winds, and setting them to turn grindstones.

It is poor work for the winds; better, indeed, than drowning sailors or tearing down forests, but not their proper work of marshalling the clouds, and bearing the wholesome rains to the place where they are ordered to fall, and fanning the flowers and leaves when they are faint with heat. Turning round a couple of stones, for the mere pulverization of human food, is not n.o.ble work for the winds. So, also, of all low labor to which one sets human souls. It is better than no labor; and, in a still higher degree, better than destructive wandering of imagination; but yet, that grinding in the darkness, for mere food's sake, must be melancholy work enough for many a living creature. All men have felt it so; and this grinding at the mill, whether it be breeze or soul that is set to it, we cannot much rejoice in. Turner has no joy of his mill. It shall be dark against the sky, yet proud, and on the hill-top; not ashamed of its labor, and brightened from beyond, the golden clouds stooping over it, and the calm summer sun going down behind, far away, to his rest.

-- 12. Now in all this observe how the higher condition of art (for I suppose the reader will feel, with me, that Turner's _is_ the highest) depends upon largeness of sympathy. It is mainly because the one painter has communion of heart with his subject, and the other only casts his eyes upon it feelinglessly, that the work of the one is greater than that of the other. And, as we think farther over the matter, we shall see that this is indeed the eminent cause of the difference between the lower picturesque and the higher. For, in a certain sense, the lower picturesque ideal is eminently a _heartless_ one: the lover of it seems to go forth into the world in a temper as merciless as its rocks. All other men feel some regret at the sight of disorder and ruin. He alone delights in both; it matters not of what. Fallen cottage--desolate villa--deserted village--blasted heath--mouldering castle--to him, so that they do but show jagged angles of stone and timber, all are sights equally joyful. Poverty, and darkness, and guilt, bring in their several contributions to his treasury of pleasant thoughts. The shattered window, opening into black and ghastly rents of wall, the foul rag or straw wisp stopping them, the dangerous roof, decrepit floor and stair, ragged misery or wasting age of the inhabitants,--all these conduce, each in due measure, to the fulness of his satisfaction. What is it to him that the old man has pa.s.sed his seventy years in helpless darkness and untaught waste of soul? The old man has at last accomplished his destiny, and filled the corner of a sketch, where something of an unshapely nature was wanting. What is it to him that the people fester in that feverish misery in the low quarter of the town, by the river?

Nay, it is much to him. What else were they made for? what could they have done better? The black timbers, and the green water, and the soaking wrecks of boats, and the torn remnants of clothes hung out to dry in the sun;--truly the fever-struck creatures, whose lives have been given for the production of these materials of effect, have not died in vain.[5]