After the next lesson he wrote, February 27, 1832:

"You know the beautiful model drawing that I gave you an account of in my last. I showed it to Mr. Runciman. He contemplated it for a moment in silence, and then, turning, asked me if I had copied. I told him how I had patched it up; but he said that that was not copying, and although he was not satisfied with the picture, he said there was something in it that would make him totally change the method he had hitherto pursued with me. He then asked Mary for some gray paper, which was produced; then inquired if I had a colour-box; I produced the one you gave me, and he then told me he should begin with a few of the simplest colours, in order to teach me better the effects of light and shade. He should then proceed to teach me water-colour painting, but the latter only as a basis for oil; this last, however, to use his own words, all in due time.... Oh, if I could paint well before we went to Dover! I should have such sea-pieces...."

In March 1834, Runciman was encouraging him in his oil-painting; but a year later he wrote to his father:

"I cannot bear to paint in oil, C. Fielding's tints alone for me!

The other costs me double toil, And wants some fifty coats to be Splashed on each spot successively.

Faugh, wie es stinckt! I can't bring out, With all, a picture fit to see.

My bladders burst; my oils are out-- And then, what's all the work about?"

After a few lessons he could rival Mary when they went for their summer excursion. He set to work at once at Sevenoaks to draw cottages; at Dover and Battle he attempted castles. It may be that these first sketches are of the pre-Runciman period; but the Ruskins made the round of Kent in 1831, and though the drawings are by no means in the master's style, they show some practice in using the pencil.

The journey was extended by the old route, conditioned by business as before, round the South Coast to the West of England, and then into Wales. There his powers of drawing failed him; moonlight on Snowdon was too vague a subject for the blacklead point but a hint of it could be conveyed in rhyme:

"Folding like an airy vest, The very clouds had sunk to rest; Light gilds the rugged mountain's breast, Calmly as they lay below; Every hill seemed topped with snow, As the flowing tide of light Broke the slumbers of the night."

Harlech Castle was too sublime for a sketch, but it was painted with the pen:

"So mighty, so majestic, and so lone; And all thy music, now, the ocean's murmuring."

And the enthusiasm of mountain glory, a sort of ecstacy of uncontrollable pa.s.sion, strives for articulate deliverance in the climbing song, "I love ye, ye eternal hills."

It was hard to come back to the daily round, the common task, especially when, in this autumn of 1831, to Dr. Andrews' Latin and Greek, the French grammar and Euclid were added, under Mr. Rowbotham. And the new tutor had no funny stories to tell; he was not so engaging a man as the "dear Doctor," and his memory was not sweet to his wayward pupil. But the parents had chosen for the work one who was favourably known by his manuals, and capable of interesting even a budding poet in the mathematics; for our author tells that at Oxford, and ever after, he knew his Euclid without the figures, and that he spent all his spare time in trying to trisect an angle. An old letter from Rowbotham informs Mr. J.J. Ruskin that an eminent mathematician had seen John's attempt, and had said that it was the cleverest he knew. In French, too, he progressed enough to be able to find his way alone in Paris two years later. And however the saucy boy may have satirized his tutor in the droll verses on "Bedtime," Mr. Rowbotham always remembered him with affection, and spoke of him with respect.

In spite of these tedious tutorships, he managed to scribble energetically all this winter, writing with amazing rapidity, as his mother notes: attempts at Waverley novels, which never got beyond the first chapter, imitations of "Childe Harold" and "Don Juan" and sc.r.a.ps in the style of everybody in turn. No wonder his mother sent him to bed at nine punctually, and kept him from school, in vain efforts to quiet his brain. The lack of companions was made up to him in the friendship of Richard Fall, son of a neighbour on "the Hill," a boy without affectation or morbidity of disposition whose complementary character suited him well. An affectionate comradeship sprang up between the two lads, and lasted, until in middle life they drifted apart, in no ill-will, but each going on his own course to his own destiny.

Some real advance was made this winter (1831-32) with his Sh.e.l.leyan "Sonnet to a Cloud" and his imitations of Byron's "Hebrew Melodies,"

from which he learnt how to concentrate expression, and to use rich vowel-sounds and liquid consonants with rolling effect. A deeper and more serious turn of thought, that gradually usurped the place of the first boyish effervescence, has been traced by him to the influence of Byron, in whom, while others saw nothing more than wit and pa.s.sion, Ruskin perceived an earnest mind and a sound judgment.

But the most sincere poem--if sincerity be marked by unstudied phrase and neglected rhyme--the most genuine "lyrical cry" of this period, is that song in which our boy-poet poured forth his longing for the "blue hills" he had loved as a baby, and for those Coniston crags over which, when he became old and sorely stricken, he was still to see the morning break. When he wrote these verses he was nearly fourteen, or just past his birthday. It had been eighteen months since he had been in Wales, and all the weary while he had seen no mountains; but in his regrets he goes back a year farther still, to fix upon the Lakeland hills, less majestic than Snowdon, but more endeared, and he describes his sensations on approaching the beloved objects in the very terms that Dante uses for his first sight of Beatrice:

"I weary for the fountain foaming, For shady holm and hill; My mind is on the mountain roaming, My spirit's voice is still.

"The crags are lone on Coniston And Glaramara's dell; And dreary on the mighty one, The cloud-enwreathed Sea-fell...."

"There is a thrill of strange delight That pa.s.ses quivering o'er me, When blue hills rise upon the sight, Like summer clouds before me."

Judge, then, of the delight with which he turned over the pages of a new book, given him this birthday by the kind Mr. Telford, in whose carriage he had first seen those blue hills--a book in which all his mountain ideals, and more, were caught and kept enshrined--visions still, and of mightier peaks and ampler valleys, romantically "tost" and sublimely "lost," as he had so often written in his favourite rhymes. In the vignettes to Rogers' "Italy," Turner had touched the chord for which John Ruskin had been feeling all these years. No wonder that he took Turner for his leader and master, and fondly tried to copy the wonderful "Alps at Daybreak" to begin with, and then to imitate this new-found magic art with his own subjects and finally to come boldly before the world in pa.s.sionate defence of a man who had done such great things for him.

This mountain-worship was not inherited from his father, who never was enthusiastic about peaks and clouds and glaciers, though he was interested in all travelling in a general way. So that it was not Rogers' "Italy" that sent the family off to the Alps that summer; but, fortunately for John, his father's eye was caught by the romantic architecture of Prout's "Sketches in Flanders and Germany," when it came out in April, 1853, and his mother proposed to make both of them happy in a tour on the Continent. The business-round was abandoned, but they could see Mr. Domecq on their way back through Paris, and not wholly lose the time.

They waited to keep papa's birthday on May 10, and early next morning drove off--father and mother, John and Mary, Nurse Anne, and the courier Salvador. They crossed to Calais, and posted, as people did in the old times, slowly from point to point; starting betimes, halting at the roadside inns, where John tried to s.n.a.t.c.h a sketch, reaching their destination early enough to investigate the cathedral or the citadel, monuments of antiquity or achievements of modern civilisation, with impartial eagerness; and before bedtime John would write up his journal and work up his sketches just as if he were at home.

So they went through Flanders and Germany, following Prout's lead by the castles of the Rhine; but at last, at Schaffhausen one Sunday evening--"suddenly--behold--beyond!"--they had seen the Alps.

Thenceforward Turner was their guide as they crossed the Splugen, sailed the Italian lakes, wondered at Milan Cathedral, and the Mediterranean at Genoa, and then roamed through the Oberland and back to Chamouni. All this while a great plan shaped itself in the boy's head, no less than to make a Rogers' "Italy" for himself, just as he tried to make a "Harry and Lucy" or a "Dictionary of Minerals." On every place they pa.s.sed he would write verses and prose sketches, to give respectively the romance and the reality or ridicule; for he saw the comic side of it all, keenly; and he would ill.u.s.trate the series with Turneresque vignettes, drawn with the finest crowquill pen, to imitate the delicate engravings.

By this he learnt more drawing in two or three years than most amateur students do in seven. For the first year he had the "Watchtower of Andernach" and the "Jungfrau from Interlaken" to show, with others of similar style, and thenceforward alternated between Turner and Prout, until he settled into something different from either.

But Turner and Prout were not the only artists he knew; at Paris he found his way into the Louvre, and got leave from the directors, though he was under the age required, to copy. The picture he chose was a Rembrandt.

Between this foreign tour and the next, his amus.e.m.e.nt was to draw these vignettes, and to write the poems suggested by the scenes he had visited. He had outgrown the evening lessons with Dr. Andrews, and as he was fifteen, it was time to think more seriously of preparing him for Oxford, where his name was put down at Christ Church. His father hoped he would go into the Church, and eventually turn out a combination of a Byron and a bishop--something like Dean Milman, only better. For this, college was a necessary preliminary; for college, some little schooling.

So they picked the best day-school in the neighbourhood, that of the Rev. Thomas Dale (afterwards Dean of Rochester), in Grove Lane, Peckham.

John Ruskin worked there rather less than two years. In 1835 he was taken from school in consequence of an attack of pleurisy, and lost the rest of that year from regular studies.

More interesting to him than school was the British Museum collection of minerals, where he worked occasionally with his Jamieson's Dictionary.

By this time he had a fair student's collection of his own, and he increased it by picking up specimens at Matlock, or Clifton, or in the Alps, wherever he went, for he was not short of pocket-money. He took the greatest pains over his catalogues, and wrote elaborate accounts of the various minerals in a shorthand he invented out of Greek letters and crystal forms.

Grafted on this mineralogy, and stimulated by the Swiss tour, was a new interest in physical geology, which his father so far approved as to give him Saussure's "Voyages dans les Alpes" for his birthday in 1834.

In this book he found the complement of Turner's vignettes, something like a key to the "reason why" of all the wonderful forms and marvellous mountain-architecture of the Alps. He soon wrote a short essay on the subject, and had the pleasure of seeing it in print, in Loudon's _Magazine of Natural History_ for March, 1834, along with another bit of his writing, asking for information on the cause of the colour of the Rhine-water.

He had already some acquaintance with J.C. Loudon, F.L.S., H.S., etc., and he was on the staff of that versatile editor not long afterwards, and took a lion's share of the writing in the _Magazine of Architecture_. Meanwhile he had been introduced to another editor, and to the publishers with whom he did business for many a year to come. The acquaintance was made in a curious, accidental manner. His cousin Charles Richardson, clerk to Smith, Elder, and Co., had the opportunity of mentioning the young poet's name to Thomas Pringle, editor of the "Friendship's Offering" which John had admired and imitated. Mr. Pringle came out to Herne Hill, and was hospitably entertained as a brother Scot, as not only an editor, but a poet himself--not _only_ a poet, but a man of respectability and piety, who had been a missionary in South Africa. In return for this hospitality he gave a good report of John's verses, and, after getting him to re-write two of the best pa.s.sages in the last tour, carried them off for insertion in his forthcoming number.

He did more: he carried John to see the actual Samuel Rogers, whose verses had been adorned by the great Turner's vignettes.

After the pleurisy of April, 1835, his parents took him abroad again, and he made great preparations to use the opportunity to the utmost. He would study geology in the field, and took Saussure in his trunk he would note meteorology: he made a cyanometer--a scale of blue to measure the depth of tone, the colour whether of Rhine-water or of Alpine skies.

He would sketch. By now he had abandoned the desire to make MS. alb.u.ms, after seeing himself in print, and so chose rather to imitate the imitable, and to follow Prout, this time with careful outlines on the spot, than to idealize his notes in mimic Turnerism. He kept a prose journal, chiefly of geology and scenery, as well as a versified description, written in a metre imitated from "Don Juan," but more elaborate, and somewhat of a _tour de force_ in rhyming. But that poetical journal was dropped after he had carried it through France, across the Jura, and to Chamouni. The drawing crowded it out, and for the first time he found himself as ready with his pencil as he had been with his pen.

His route is marked by the drawings of that year, from Chamouni to the St. Bernard and Aosta, back to the Oberland and up the St. Gothard; then back again to Lucerne and round by the Stelvio to Venice and Verona, and finally through the Tyrol and Germany homewards. The ascent of the St.

Bernard was told in a dramatic sketch of great humour and power of characterization, and a letter to Richard Fall records the night on the Rigi, when he saw the splendid sequence of storm, sunset, moonlight, and daybreak, which forms the subject of one of the most impressive pa.s.sages of "Modern Painters."

It happened that Pringle had a plate of Salzburg which he wanted to print in order to make up the volume of "Friendship's Offering" for the next Christmas. He seems to have asked John Ruskin to furnish a copy of verses for the picture, and at Salzburg, accordingly, a bit of rhymed description was written and re-written, and sent home to the editor.

Early in December the Ruskins returned, and at Christmas there came to Herne Hill a gorgeous gilt morocco volume, "To John Ruskin, from the Publishers." On opening it there were his "Andernach" and "St. Goar,"

and his "Salzburg" opposite a beautifully-engraved plate, all hills, towers, boats, and figures moving picturesquely under the sunset, in Turner's manner more or less, "Engraved by E. Goodall from a drawing by W. Purser." It was almost like being Mr. Rogers himself.

CHAPTER V

THE GERM OF "MODERN PAINTERS" (1836)

He was now close upon seventeen, and it was time to think seriously of his future. His father went to Oxford early in the year to consult the authorities about matriculation. Meantime they sent him to Mr. Dale for some private lessons, and for the lectures on logic, English literature, and translation, which were given on Tuesdays, Thursdays, and Fridays at King's College, London. John enjoyed his new circ.u.mstances heartily.

From voluminous letters, it is evident that he was in high spirits and in pleasant company. He was a thorough boy among boys--Matson, Willoughby, Tom Dale and the rest. He joined in their pranks, and contributed to their amus.e.m.e.nt with his ready good-humour and unflagging drollery.

Mr. Dale told him there was plenty of time before October, and no fear about his pa.s.sing, if he worked hard. He found the work easy, except epigram-writing, which he thought "excessively stupid and laborious,"

but helped himself out, when scholarship failed, with native wit. Some of his exercises remain, not very brilliant Latinity; some he saucily evaded, thus:

"Subject: _Non sapere maximum est malum._

"Non sapere est grave; sed, c.u.m dura epigrammata oportet Scribere, tunc sentis praecipue esse malum."

In Switzerland and Italy, during the autumn of 1835, he had made a great many drawings, carefully outlined in pencil or pen on gray paper, and spa.r.s.ely touched with body colour, in direct imitation of the Prout lithographs. Prout's original coloured sketches he had seen, no doubt, in the exhibition; but he does not seem to have thought of imitating them, for his work in this kind was all intended to be for ill.u.s.tration and not for framing. The "Italy" vignettes likewise, with all their inspiration, suggested to him only pen-etching; he was hardly conscious that somewhere there existed the tiny, coloured pictures that Turner had made for the engraver. Still, now that he could draw really well, his father, who painted in water-colours himself, complied with the demand for better teaching than Runciman's, went straight to the President of the Old Water-Colour Society, and engaged him for the usual course of half a dozen lessons at a guinea a piece. Copley Fielding could draw mountains as n.o.body else but Turner could, in water-colour; he had enough mystery and poetry to interest the younger Ruskin, and enough resemblance to ordinary views of Nature to please the elder. So they both went to Newman Street to his painting-room, and John worked through the course, and a few extra lessons, but, after all, found Fielding's art was not what he wanted. Some sketches exist, showing the influence of the spongy style; but his characteristic way of work remained for him to devise for himself.

At the Royal Academy Exhibition of 1836 Turner showed the first striking examples of his later style in "Juliet and her Nurse," "Mercury and Argus," and "Rome from Mount Aventine." The strange idealism, the unusualness, the mystery, of these pictures, united with evidence of intense significance and subtle observation, appealed to young Ruskin as it appealed to few other spectators. Public opinion regretted this change in its old favourite, the draughtsman of Oxford colleges, the painter of shipwrecks and castles. And _Blackwood's Magazine_, which the Ruskins, as Edinburgh people and admirers of Christopher North, read with respect, spoke about Turner, in a review of the picture-season, with that freedom of speech which Scotch reviewers claim as a heritage from the days of Jeffrey. Young Ruskin at once dashed off an answer.

The critic had found that Turner was "out of nature"; Ruskin tried to show that the pictures were full of facts, but treated with poetical license. The critic p.r.o.nounced Turner's colour bad, his execution neglected, and his chiaroscuro childish; in answer to which Ruskin explained that Turner's reasoned system was to represent light and shade by the contrast of warm and cold colour, rather than by the opposition of white and black which other painters used. He denied that his execution was other than his aims necessitated, and maintained that the critic had no right to force his cut-and-dried academic rules of composition on a great genius; at the same time admitting that:

"The faults of Turner are numerous, and perhaps more egregious than those of any other great existing artist; but if he has greater faults, he has also greater beauties.