The Crown of Wild Olive

The opposite quality to breadth, that of division or scattering of light and colour, has a certain contrasting charm, and is occasionally introduced with exquisite effect by good composers.[261 - One of the most wonderful compositions of Tintoret in Venice, is little more than a field of subdued crimson, spotted with flakes of scattered gold. The upper clouds in the most beautiful skies owe great part of their power to infinitude of division; order being marked through this division.] Still, it is never the mere scattering, but the order discernible through this scattering, which is the real source of pleasure; not the mere multitude, but the constellation of multitude. The broken lights in the work of a good painter wander like flocks upon the hills, not unshepherded; speaking of life and peace: the broken lights of a bad painter fall like hailstones, and are capable only of mischief, leaving it to be wished they were also of dissolution.

9. THE LAW OF HARMONY

This last law is not, strictly speaking, so much one of composition as of truth, but it must guide composition, and is properly, therefore, to be stated in this place.

Good drawing is, as we have seen, an abstract of natural facts; you cannot represent all that you would, but must continually be falling short, whether you will or no, of the force, or quantity, of Nature. Now, suppose that your means and time do not admit of your giving the depth of colour in the scene, and that you are obliged to paint it paler. If you paint all the colours proportionately paler, as if an equal quantity of tint had been washed away from each of them, you still obtain a harmonious, though not an equally forcible statement of natural fact. But if you take away the colours unequally, and leave some tints nearly as deep as they are in Nature, while others are much subdued, you have no longer a true statement. You cannot say to the observer, "Fancy all those colours a little deeper, and you will have the actual fact." However he adds in imagination, or takes away, something is sure to be still wrong. The picture is out of harmony.

It will happen, however, much more frequently, that you have to darken the whole system of colours, than to make them paler. You remember, in your first studies of colour from Nature, you were to leave the passages of light which were too bright to be imitated, as white paper. But, in completing the picture, it becomes necessary to put colour into them; and then the other colours must be made darker, in some fixed relation to them. If you deepen all proportionately, though the whole scene is darker than reality, it is only as if you were looking at the reality in a lower light: but if, while you darken some of the tints, you leave others undarkened, the picture is out of harmony, and will not give the impression of truth.

It is not, indeed, possible to deepen all the colours so much as to relieve the lights in their natural degree; you would merely sink most of your colours, if you tried to do so, into a broad mass of blackness: but it is quite possible to lower them harmoniously, and yet more in some parts of the picture than in others, so as to allow you to show the light you want in a visible relief. In well-harmonised pictures this is done by gradually deepening the tone of the picture towards the lighter parts of it, without materially lowering it in the very dark parts; the tendency in such pictures being, of course, to include large masses of middle tints. But the principal point to be observed in doing this, is to deepen the individual tints without dirtying or obscuring them. It is easy to lower the tone of the picture by washing it over with grey or brown; and easy to see the effect of the landscape, when its colours are thus universally polluted with black, by using the black convex mirror, one of the most pestilent inventions for falsifying nature and degrading art which ever was put into an artist's hand.[262 - I fully believe that the strange grey gloom, accompanied by considerable power of effect, which prevails in modern French art must be owing to the use of this mischievous instrument; the French landscape always gives me the idea of Nature seen carelessly in the dark mirror, and painted coarsely, but scientifically, through the veil of its perversion.] For the thing required is not to darken pale yellow by mixing grey with it, but to deepen the pure yellow; not to darken crimson by mixing black with it, but by making it deeper and richer crimson: and thus the required effect could only be seen in Nature, if you had pieces of glass of the colour of every object in your landscape, and of every minor hue that made up those colours, and then could see the real landscape through this deep gorgeousness of the varied glass. You cannot do this with glass, but you can do it for yourself as you work; that is to say, you can put deep blue for pale blue, deep gold for pale gold, and so on, in the proportion you need; and then you may paint as forcibly as you choose, but your work will still be in the manner of Titian, not of Caravaggio or Spagnoletto, or any other of the black slaves of painting.[263 - Various other parts of this subject are entered into, especially in their bearing on the ideal of painting, in "Modern Painters," vol. iv. chap. iii.]

Supposing those scales of colour, which I told you to prepare in order to show you the relations of colour to grey, were quite accurately made, and numerous enough, you would have nothing more to do, in order to obtain a deeper tone in any given mass of colour, than to substitute for each of its hues the hue as many degrees deeper in the scale as you wanted, that is to say, if you want to deepen the whole two degrees, substituting for the yellow No. 5. the yellow No. 7., and for the red No. 9. the red No. 11., and so on; but the hues of any object in Nature are far too numerous, and their degrees too subtle, to admit of so mechanical a process. Still, you may see the principle of the whole matter clearly by taking a group of colours out of your scale, arranging them prettily, and then washing them all over with grey: that represents the treatment of Nature by the black mirror. Then arrange the same group of colours, with the tints five or six degrees deeper in the scale; and that will represent the treatment of Nature by Titian.

You can only, however, feel your way fully to the right of the thing by working from Nature.

The best subject on which to begin a piece of study of this kind is a good thick tree trunk, seen against blue sky with some white clouds in it. Paint the clouds in true and tenderly gradated white; then give the sky a bold full blue, bringing them well out; then paint the trunk and leaves grandly dark against all, but in such glowing dark green and brown as you see they will bear. Afterwards proceed to more complicated studies, matching the colours carefully first by your old method; then deepening each colour with its own tint, and being careful, above all things, to keep truth of equal change when the colours are connected with each other, as in dark and light sides of the same object. Much more aspect and sense of harmony are gained by the precision with which you observe the relation of colours in dark sides and light sides, and the influence of modifying reflections, than by mere accuracy of added depth in independent colours.

This harmony of tone, as it is generally called, is the most important of those which the artist has to regard. But there are all kinds of harmonies in a picture, according to its mode of production. There is even a harmony of touch. If you paint one part of it very rapidly and forcibly, and another part slowly and delicately, each division of the picture may be right separately, but they will not agree together: the whole will be effectless and valueless, out of harmony. Similarly, if you paint one part of it by a yellow light in a warm day, and another by a grey light in a cold day, though both may have been sunlight, and both may be well toned, and have their relative shadows truly cast, neither will look like light: they will destroy each other's power, by being out of harmony. These are only broad and definable instances of discordance; but there is an extent of harmony in all good work much too subtle for definition; depending on the draughtsman's carrying everything he draws up to just the balancing and harmonious point, in finish, and colour, and depth of tone, and intensity of moral feeling, and style of touch, all considered at once; and never allowing himself to lean too emphatically on detached parts, or exalt one thing at the expense of another, or feel acutely in one place and coldly in another. If you have got some of Cruikshank's etchings, you will be able, I think, to feel the nature of harmonious treatment in a simple kind, by comparing them with any of Richter's illustrations to the numerous German story-books lately published at Christmas, with all the German stories spoiled. Cruikshank's work is often incomplete in character and poor in incident, but, as drawing, it is perfect in harmony. The pure and simple effects of daylight which he gets by his thorough mastery of treatment in this respect, are quite unrivalled, as far as I know, by any other work executed with so few touches. His vignettes to Grimm's German stories, already recommended, are the most remarkable in this quality. Richter's illustrations, on the contrary, are of a very high stamp as respects understanding of human character, with infinite playfulness and tenderness of fancy; but, as drawings, they are almost unendurably out of harmony, violent blacks in one place being continually opposed to trenchant white in another; and, as is almost sure to be the case with bad harmonists, the local colour hardly felt anywhere. All German work is apt to be out of harmony, in consequence of its too frequent conditions of affectation, and its wilful refusals of fact; as well as by reason of a feverish kind of excitement, which dwells violently on particular points, and makes all the lines of thought in the picture to stand on end, as it were, like a cat's fur electrified; while good work is always as quiet as a couchant leopard, and as strong.

I have now stated to you all the laws of composition which occur to me as capable of being illustrated or defined; but there are multitudes of others which, in the present state of my knowledge, I cannot define, and others which I never hope to define; and these the most important, and connected with the deepest powers of the art. Among those which I hope to be able to explain when I have thought of them more, are the laws which relate to nobleness and ignobleness; that ignobleness especially which we commonly call "vulgarity," and which, in its essence, is one of the most curious subjects of inquiry connected with human feeling. Among those which I never hope to explain, are chiefly laws of expression, and others bearing simply on simple matters; but, for that very reason, more influential than any others. These are, from the first, as inexplicable as our bodily sensations are; it being just as impossible, I think, to explain why one succession of musical notes[264 - In all the best arrangements of colour, the delight occasioned by their mode of succession is entirely inexplicable, nor can it be reasoned about; we like it just as we like an air in music, but cannot reason any refractory person into liking it, if they do not: and yet there is distinctly a right and a wrong in it, and a good taste and bad taste respecting it, as also in music.] shall be noble and pathetic, and such as might have been sung by Casella to Dante, and why another succession is base and ridiculous, and would be fit only for the reasonably good ear of Bottom, as to explain why we like sweetness, and dislike bitterness. The best part of every great work is always inexplicable: it is good because it is good; and innocently gracious, opening as the green of the earth, or falling as the dew of heaven.

But though you cannot explain them, you may always render yourself more and more sensitive to these higher qualities by the discipline which you generally give to your character, and this especially with regard to the choice of incidents; a kind of composition in some sort easier than the artistical arrangements of lines and colours, but in every sort nobler, because addressed to deeper feelings.

For instance, in the "Datur Hora Quieti," the last vignette to Roger's Poems, the plough in the foreground has three purposes. The first purpose is to meet the stream of sunlight on the river, and make it brighter by opposition; but any dark object whatever would have done this. Its second purpose is by its two arms, to repeat the cadence of the group of the two ships, and thus give a greater expression of repose; but two sitting figures would have done this. Its third and chief, or pathetic, purpose is, as it lies abandoned in the furrow (the vessels also being moored, and having their sails down), to be a type of human labour closed with the close of day. The parts of it on which the hand leans are brought most clearly into sight; and they are the chief dark of the picture, because the tillage of the ground is required of man as a punishment; but they make the soft light of the setting sun brighter, because rest is sweetest after toil. These thoughts may never occur to us as we glance carelessly at the design; and yet their under current assuredly affects the feelings, and increases, as the painter meant it should, the impression of melancholy, and of peace.

Again, in the "Lancaster Sands," which is one of the plates I have marked as most desirable for your possession; the stream of light which falls from the setting sun on the advancing tide stands similarly in need of some force of near object to relieve its brightness. But the incident which Turner has here adopted is the swoop of an angry seagull at a dog, who yelps at it, drawing back as the wave rises over his feet, and the bird shrieks within a foot of his face. Its unexpected boldness is a type of the anger of its ocean element, and warns us of the sea's advance just as surely as the abandoned plough told us of the ceased labour of the day.

It is not, however, so much in the selection of single incidents of this kind as in the feeling which regulates the arrangement of the whole subject that the mind of a great composer is known. A single incident may be suggested by a felicitous chance, as a pretty motto might be for the heading of a chapter. But the great composers so arrange all their designs that one incident illustrates another, just as one colour relieves another. Perhaps the "Heysham," of the Yorkshire series which, as to its locality, may be considered a companion to the last drawing we have spoken of, the "Lancaster Sands," presents as interesting an example as we could find of Turner's feeling in this respect. The subject is a simple north-country village, on the shore of Morecambe Bay; not in the common sense, a picturesque village: there are no pretty bow-windows, or red roofs, or rocky steps of entrance to the rustic doors, or quaint gables; nothing but a single street of thatched and chiefly clay-built cottages, ranged in a somewhat monotonous line, the roofs so green with moss that at first we hardly discern the houses from the fields and trees. The village street is closed at the end by a wooden gate, indicating the little traffic there is on the road through it, and giving it something the look of a large farmstead, in which a right of way lies through the yard. The road which leads to this gate is full of ruts, and winds down a bad bit of hill between two broken banks of moor ground, succeeding immediately to the few enclosures which surround the village; they can hardly be called gardens; but a decayed fragment or two of fencing fill the gaps in the bank; and a clothes-line, with some clothes on it, striped blue and red, and a smock-frock, is stretched between the trunks of some stunted willows; a very small haystack and pigstye being seen at the back of the cottage beyond. An empty, two-wheeled, lumbering cart, drawn by a pair of horses with huge wooden collars, the driver sitting lazily in the sun, sideways on the leader, is going slowly home along the rough road, it being about country dinner-time. At the end of the village there is a better house, with three chimneys and a dormer window in its roof, and the roof is of stone shingle instead of thatch, but very rough. This house is no doubt the clergyman's; there is some smoke from one of its chimneys, none from any other in the village; this smoke is from the lowest chimney at the back, evidently that of the kitchen, and it is rather thick, the fire not having been long lighted. A few hundred yards from the clergyman's house, nearer the shore, is the church, discernible from the cottage only by its low-arched belfry, a little neater than one would expect in such a village; perhaps lately built by the Puseyite incumbent;[265 - "Puseyism" was unknown in the days when this drawing was made; but the kindly and helpful influences of what may be called ecclesiastical sentiment, which, in a morbidly exaggerated condition, forms one of the principal elements of "Puseyism,"—I use this word regretfully, no other existing which will serve for it,—had been known and felt in our wild northern districts long before.] and beyond the church, close to the sea, are two fragments of a border war-tower, standing on their circular mound, worn on its brow deep into edges and furrows by the feet of the village children. On the bank of moor, which forms the foreground, are a few cows, the carter's dog barking at a vixenish one: the milkmaid is feeding another, a gentle white one, which turns its head to her, expectant of a handful of fresh hay, which she has brought for it in her blue apron, fastened up round her waist; she stands with her pail on her head, evidently the village coquette, for she has a neat bodice, and pretty striped petticoat under the blue apron, and red stockings. Nearer us, the cowherd, barefooted, stands on a piece of the limestone rock (for the ground is thistly and not pleasurable to bare feet);—whether boy or girl we are not sure; it may be a boy, with a girl's worn-out bonnet on, or a girl with a pair of ragged trowsers on; probably the first, as the old bonnet is evidently useful to keep the sun out of our eyes when we are looking for strayed cows among the moorland hollows, and helps us at present to watch (holding the bonnet's edge down) the quarrel of the vixenish cow with the dog, which, leaning on our long stick, we allow to proceed without any interference. A little to the right the hay is being got in, of which the milkmaid has just taken her apronful to the white cow; but the hay is very thin, and cannot well be raked up because of the rocks; we must glean it like corn, hence the smallness of our stack behind the willows, and a woman is pressing a bundle of it hard together, kneeling against the rock's edge, to carry it safely to the hay-cart without dropping any. Beyond the village is a rocky hill, deep set with brushwood, a square crag or two of limestone emerging here and there, with pleasant turf on their brows, heaved in russet and mossy mounds against the sky, which, clear and calm, and as golden as the moss, stretches down behind it towards the sea. A single cottage just shows its roof over the edge of the hill, looking seaward; perhaps one of the village shepherds is a sea captain now, and may have built it there, that his mother may first see the sails of his ship whenever it runs into the bay. Then under the hill, and beyond the border tower, is the blue sea itself, the waves flowing in over the sand in long curved lines, slowly; shadows of cloud and gleams of shallow water on white sand alternating—miles away; but no sail is visible, not one fisherboat on the beach, not one dark speck on the quiet horizon. Beyond all are the Cumberland mountains, clear in the sun, with rosy light on all their crags.

I should think the reader cannot but feel the kind of harmony there is in this composition; the entire purpose of the painter to give us the impression of wild, yet gentle, country life, monotonous as the succession of the noiseless waves, patient and enduring as the rocks; but peaceful, and full of health and quiet hope, and sanctified by the pure mountain air and baptismal dew of heaven, falling softly between days of toil and nights of innocence.

All noble composition of this kind can be reached only by instinct: you cannot set yourself to arrange such a subject; you may see it, and seize it, at all times, but never laboriously invent it. And your power of discerning what is best in expression, among natural subjects, depends wholly on the temper in which you keep your own mind; above all, on your living so much alone as to allow it to become acutely sensitive in its own stillness. The noisy life of modern days is wholly incompatible with any true perception of natural beauty. If you go down into Cumberland by the railroad, live in some frequented hotel, and explore the hills with merry companions, however much you may enjoy your tour or their conversation, depend upon it you will never choose so much as one pictorial subject rightly; you will not see into the depth of any. But take knapsack and stick, walk towards the hills by short day's journeys—ten or twelve miles a day—taking a week from some starting-place sixty or seventy miles away: sleep at the pretty little wayside inns, or the rough village ones; then take the hills as they tempt you, following glen or shore as your eye glances or your heart guides, wholly scornful of local fame or fashion, and of everything which it is the ordinary traveller's duty to see or pride to do. Never force yourself to admire anything when you are not in the humour; but never force yourself away from what you feel to be lovely, in search of anything better: and gradually the deeper scenes of the natural world will unfold themselves to you in still increasing fulness of passionate power; and your difficulty will be no more to seek or to compose subjects, but only to choose one from among the multitude of melodious thoughts with which you will be haunted, thoughts which will of course be noble or original in proportion to your own depth of character and general power of mind: for it is not so much by the consideration you give to any single drawing, as by the previous discipline of your powers of thought, that the character of your composition will be determined. Simplicity of life will make you sensitive to the refinement and modesty of scenery, just as inordinate excitement and pomp of daily life will make you enjoy coarse colours and affected forms. Habits of patient comparison and accurate judgment will make your art precious, as they will make your actions wise; and every increase of noble enthusiasm in your living spirit will be measured by the reflection of its light upon the works of your hands.

    Faithfully yours,
    J. Ruskin.

APPENDIX

THINGS TO BE STUDIED

The worst danger by far, to which a solitary student is exposed, is that of liking things that he should not. It is not so much his difficulties, as his tastes, which he must set himself to conquer; and although, under the guidance of a master, many works of art may be made instructive, which are only of partial excellence (the good and bad of them being duly distinguished), his safeguard, as long as he studies alone, will be in allowing himself to possess only things, in their way, so free from faults, that nothing he copies in them can seriously mislead him, and to contemplate only those works of art which he knows to be either perfect or noble in their errors. I will therefore set down in clear order, the names of the masters whom you may safely admire, and a few of the books which you may safely possess. In these days of cheap illustration, the danger is always rather of your possessing too much than too little. It may admit of some question, how far the looking at bad art may set off and illustrate the characters of the good; but, on the whole, I believe it is best to live always on quite wholesome food, and that our taste of it will not be made more acute by feeding, however temporarily, on ashes. Of course the works of the great masters can only be serviceable to the student after he has made considerable progress himself. It only wastes the time and dulls the feelings of young persons, to drag them through picture galleries; at least, unless they themselves wish to look at particular pictures. Generally, young people only care to enter a picture gallery when there is a chance of getting leave to run a race to the other end of it; and they had better do that in the garden below. If, however, they have any real enjoyment of pictures, and want to look at this one or that, the principal point is never to disturb them in looking at what interests them, and never to make them look at what does not. Nothing is of the least use to young people (nor, by the way, of much use to old ones), but what interests them; and therefore, though it is of great importance to put nothing but good art into their possession, yet when they are passing through great houses or galleries, they should be allowed to look precisely at what pleases them: if it is not useful to them as art, it will be in some other way: and the healthiest way in which art can interest them is when they look at it, not as art, but because it represents something they like in nature. If a boy has had his heart filled by the life of some great man, and goes up thirstily to a Vandyck portrait of him, to see what he was like, that is the wholesomest way in which he can begin the study of portraiture; if he love mountains, and dwell on a Turner drawing because he sees in it a likeness to a Yorkshire scar, or an Alpine pass, that is the wholesomest way in which he can begin the study of landscape; and if a girl's mind is filled with dreams of angels and saints, and she pauses before an Angelico because she thinks it must surely be indeed like heaven, that is the wholesomest way for her to begin the study of religious art.

When, however, the student has made some definite progress, and every picture becomes really a guide to him, false or true, in his own work, it is of great importance that he should never so much as look at bad art; and then, if the reader is willing to trust me in the matter, the following advice will be useful to him. In which, with his permission, I will quit the indirect and return to the epistolary address, as being the more convenient.

First, in Galleries of Pictures:

1. You may look, with trust in their being always right, at Titian, Veronese, Tintoret, Giorgione, John Bellini, and Velasquez; the authenticity of the picture being of course established for you by proper authority.

2. You may look with admiration, admitting, however question of right and wrong,[266 - I do not mean necessarily to imply inferiority of rank, in saying that this second class of painters have questionable qualities. The greatest men have often many faults, and sometimes their faults are a part of their greatness; but such men are not, of course, to be looked upon by the student with absolute implicitness of faith.] at Van Eyck, Holbein, Perugino, Francia, Angelico, Leonardo da Vinci, Correggio, Vandyck, Rembrandt, Reynolds, Gainsborough, Turner, and the modern Pre-Raphaelites.[267 - Including under this term, John Lewis, and William Hunt of the Old Water-colour, who, take him all in all, is the best painter of still life, I believe, that ever existed.] You had better look at no other painters than these, for you run a chance, otherwise, of being led far off the road, or into grievous faults, by some of the other great ones, as Michael Angelo, Raphael, and Rubens; and of being, besides, corrupted in taste by the base ones, as Murillo, Salvator, Claude, Gasper Poussin, Teniers, and such others. You may look, however, for examples of evil, with safe universality of reprobation, being sure that everything you see is bad, at Domenichino, the Caracci, Bronzino, and the figure pieces of Salvator.

Among those named for study under question, you cannot look too much at, nor grow too enthusiastically fond of, Angelico, Correggio, Reynolds, Turner, and the Pre-Raphaelites; but, if you find yourself getting especially fond of any of the others, leave off looking at them, for you must be going wrong some way or other. If, for instance, you begin to like Rembrandt or Leonardo especially, you are losing your feeling for colour; if you like Van Eyck or Perugino especially, you must be getting too fond of rigid detail; and if you like Vandyck or Gainsborough especially, you must be too much attracted by gentlemanly flimsiness.

Secondly, of published, or otherwise multiplied, art, such as you may be able to get yourself, or to see at private houses or in shops, the works of the following masters are the most desirable, after the Turners, Rembrandts, and Durers, which I have asked you to get first:

1. Samuel Prout.

All his published lithographic sketches are of the greatest value, wholly unrivalled in power of composition, and in love and feeling of architectural subject. His somewhat mannered linear execution, though not to be imitated in your own sketches from Nature, may be occasionally copied, for discipline's sake, with great advantage; it will give you a peculiar steadiness of hand, not quickly attainable in any other way; and there is no fear of your getting into any faultful mannerism as long as you carry out the different modes of more delicate study above recommended.

If you are interested in architecture, and wish to make it your chief study, you should draw much from photographs of it; and then from the architecture itself, with the same completion of detail and gradation, only keeping the shadows of due paleness, in photographs they are always about four times as dark as they ought to be; and treat buildings with as much care and love as artists do their rock foregrounds, drawing all the moss and weeds, and stains upon them. But if, without caring to understand architecture, you merely want the picturesque character of it, and to be able to sketch it fast, you cannot do better than take Prout for your exclusive master; only do not think that you are copying Prout by drawing straight lines with dots at the end of them. Get first his "Rhine," and draw the subjects that have most hills, and least architecture in them, with chalk on smooth paper, till you can lay on his broad flat tints, and get his gradations of light, which are very wonderful; then take up the architectural subjects in the "Rhine," and draw again and again the groups of figures, &c., in his "Microcosm," and "Lessons on Light and Shadow." After that, proceed to copy the grand subjects in the sketches in "Flanders and Germany;" or in "Switzerland and Italy," if you cannot get the Flanders; but the Switzerland is very far inferior. Then work from Nature, not trying to Proutise Nature, by breaking smooth buildings into rough ones, but only drawing what you see, with Prout's simple method and firm lines. Don't copy his coloured works. They are good, but not at all equal to his chalk and pencil drawings, and you will become a mere imitator, and a very feeble imitator, if you use colour at all in Prout's method. I have not space to explain why this is so, it would take a long piece of reasoning; trust me for the statement.

2. John Lewis.

His sketches in Spain, lithographed by himself, are very valuable. Get them, if you can, and also some engravings (about eight or ten, I think, altogether) of wild beasts, executed by his own hand a long time ago; they are very precious in every way. The series of the "Alhambra" is rather slight, and few of the subjects are lithographed by himself; still it is well worth having.

But let no lithographic work come into the house, if you can help it, nor even look at any, except Prout's, and those sketches of Lewis's.

3. George Cruikshank.

If you ever happen to meet with the two volumes of "Grimm's German Stories," which were illustrated by him long ago, pounce upon them instantly; the etchings in them are the finest things, next to Rembrandt's, that, as far as I know, have been done since etching was invented. You cannot look at them too much, nor copy them too often.

All his works are very valuable, though disagreeable when they touch on the worst vulgarities of modern life; and often much spoiled by a curiously mistaken type of face, divided so as to give too much to the mouth and eyes, and leave too little for forehead, the eyes being set about two thirds up, instead of at half the height of the head. But his manner of work is always right; and his tragic power, though rarely developed, and warped by habits of caricature, is, in reality, as great as his grotesque power.

There is no fear of his hurting your taste, as long as your principal work lies among art of so totally different a character as most of that which I have recommended to you; and you may, therefore, get great good by copying almost anything of his that may come in your way; except only his illustrations lately published to "Cinderella," and "Jack and the Beanstalk," and "Tom Thumb," which are much over-laboured, and confused in line. You should get them, but do not copy them.

4. Alfred Rethel.

I only know two publications by him; one, the "Dance of Death," with text by Reinick, published in Leipsic, but to be had now of any London bookseller for the sum, I believe, of eighteen pence, and containing six plates full of instructive character; the other, of two plates only, "Death the Avenger," and "Death the Friend." These two are far superior to the "Todtentanz," and, if you can get them, will be enough in themselves, to show all that Rethel can teach you. If you dislike ghastly subjects, get "Death the Friend" only.

5. Bewick.

The execution of the plumage in Bewick's birds is the most masterly thing ever yet done in wood-cutting; it is just worked as Paul Veronese would have worked in wood, had he taken to it. His vignettes, though too coarse in execution, and vulgar in types of form, to be good copies, show, nevertheless, intellectual power of the highest order; and there are pieces of sentiment in them, either pathetic or satirical, which have never since been equalled in illustrations of this simple kind; the bitter intensity of the feeling being just like that which characterises some of the leading Pre-Raphaelites. Bewick is the Burns of painting.

6. Blake.

The "Book of Job," engraved by himself, is of the highest rank in certain characters of imagination and expression; in the mode of obtaining certain effects of light it will also be a very useful example to you. In expressing conditions of glaring and flickering light, Blake is greater than Rembrandt.

7. Richter.

I have already told you what to guard against in looking at his works. I am a little doubtful whether I have done well in including them in this catalogue at all; but the fancies in them are so pretty and numberless, that I must risk, for their sake, the chance of hurting you a little in judgment of style. If you want to make presents of story-books to children, his are the best you can now get.

8. Rossetti.

An edition of Tennyson, lately published, contains woodcuts from drawings by Rossetti and other chief Pre-Raphaelite masters. They are terribly spoiled in the cutting, and generally the best part, the expression of feature, entirely lost;[268 - This is especially the case in the St. Cecily, Rossetti's first illustration to the "palace of art," which would have been the best in the book had it been well engraved. The whole work should be taken up again, and done by line engraving, perfectly; and wholly from Pre-Raphaelite designs, with which no other modern work can bear the least comparison.] still they are full of instruction, and cannot be studied too closely. But observe, respecting these woodcuts, that if you have been in the habit of looking at much spurious work, in which sentiment, action, and style are borrowed or artificial, you will assuredly be offended at first by all genuine work, which is intense in feeling. Genuine art, which is merely art, such as Veronese's or Titian's, may not offend you, though the chances are that you will not care about it: but genuine works of feeling, such as Maude and Aurora Leigh in poetry, or the grand Pre-Raphaelite designs in painting, are sure to offend you; and if you cease to work hard, and persist in looking at vicious and false art, they will continue to offend you. It will be well, therefore, to have one type of entirely false art, in order to know what to guard against. Flaxman's outlines to Dante contain, I think, examples of almost every kind of falsehood and feebleness which it is possible for a trained artist, not base in thought, to commit or admit, both in design and execution. Base or degraded choice of subject, such as you will constantly find in Teniers and others of the Dutch painters, I need not, I hope, warn you against; you will simply turn away from it in disgust; while mere bad or feeble drawing, which makes mistakes in every direction at once, cannot teach you the particular sort of educated fallacy in question. But, in these designs of Flaxman's, you have gentlemanly feeling, and fair knowledge of anatomy, and firm setting down of lines, all applied in the foolishest and worst possible way; you cannot have a more finished example of learned error, amiable want of meaning, and bad drawing with a steady hand.[269 - The praise I have given incidentally to Flaxman's sculpture in the "Seven Lamps," and elsewhere, refers wholly to his studies from Nature, and simple groups in marble, which were always good and interesting. Still, I have overrated him, even in this respect; and it is generally to be remembered that, in speaking of artists whose works I cannot be supposed to have specially studied, the errors I fall into will always be on the side of praise. For, of course, praise is most likely to be given when the thing praised is above one's knowledge; and, therefore, as our knowledge increases, such things may be found less praiseworthy than we thought. But blame can only be justly given when the thing blamed is below one's level of sight; and, practically, I never do blame anything until I have got well past it, and am certain that there is demonstrable falsehood in it. I believe, therefore, all my blame to be wholly trustworthy, having never yet had occasion to repent of one depreciatory word that I have ever written, while I have often found that, with respect to things I had not time to study closely, I was led too far by sudden admiration, helped, perhaps, by peculiar associations, or other deceptive accidents; and this the more, because I never care to check an expression of delight, thinking the chances are, that, even if mistaken, it will do more good than harm; but I weigh every word of blame with scrupulous caution. I have sometimes erased a strong passage of blame from second editions of my books; but this was only when I found it offended the reader without convincing him, never because I repented of it myself.] Retsch's outlines have more real material in them than Flaxman's, occasionally showing true fancy and power; in artistic principle they are nearly as bad, and in taste worse. All outlines from statuary, as given in works on classical art, will be very hurtful to you if you in the least like them; and nearly all finished line engravings. Some particular prints I could name which possess instructive qualities, but it would take too long to distinguish them, and the best way is to avoid line engravings of figures altogether. If you happen to be a rich person, possessing quantities of them, and if you are fond of the large finished prints from Raphael, Correggio, &c., it is wholly impossible that you can make any progress in knowledge of real art till you have sold them all—or burnt them, which would be a greater benefit to the world. I hope that some day, true and noble engravings will be made from the few pictures of the great schools, which the restorations undertaken by the modern managers of foreign galleries may leave us; but the existing engravings have nothing whatever in common with the good in the works they profess to represent, and if you like them, you like in the originals of them hardly anything but their errors.

Finally, your judgment will be, of course, much affected by your taste in literature. Indeed, I know many persons who have the purest taste in literature, and yet false taste in art, and it is a phenomenon which puzzles me not a little: but I have never known any one with false taste in books, and true taste in pictures. It is also of the greatest importance to you, not only for art's sake, but for all kinds of sake, in these days of book deluge, to keep out of the salt swamps of literature, and live on a rocky island of your own, with a spring and a lake in it, pure and good. I cannot, of course, suggest the choice of your library to you, every several mind needs different books; but there are some books which we all need, and assuredly, if you read Homer,[270 - Chapman's, if not the original.] Plato, Æschylus, Herodotus, Dante,[271 - Carey's or Cayley's, if not the original. I do not know which are the best translations of Plato. Herodotus and Æschylus can only be read in the original. It may seem strange that I name books like these for "beginners:" but all the greatest books contain food for all ages; and an intelligent and rightly bred youth or girl ought to enjoy much, even in Plato, by the time they are fifteen or sixteen.] Shakspeare, and Spenser, as much as you ought, you will not require wide enlargement of shelves to right and left of them for purposes of perpetual study. Among modern books, avoid generally magazine and review literature. Sometimes it may contain a useful abridgement or a wholesome piece of criticism; but the chances are ten to one it will either waste your time or mislead you. If you want to understand any subject whatever, read the best book upon it you can hear of; not a review of the book. If you don't like the first book you try, seek for another; but do not hope ever to understand the subject without pains, by a reviewer's help. Avoid especially that class of literature which has a knowing tone; it is the most poisonous of all. Every good book, or piece of book, is full of admiration and awe; it may contain firm assertion or stern satire, but it never sneers coldly, nor asserts haughtily, and it always leads you to reverence or love something with your whole heart. It is not always easy to distinguish the satire of the venomous race of books from the satire of the noble and pure ones; but in general you may notice that the cold-blooded Crustacean and Batrachian books will sneer at sentiment; and the warm-blooded, human books, at sin. Then, in general, the more you can restrain your serious reading to reflective or lyric poetry, history, and natural history, avoiding fiction and the drama, the healthier your mind will become. Of modern poetry keep to Scott, Wordsworth, Keats, Crabbe, Tennyson, the two Brownings, Lowell, Longfellow, and Coventry Patmore, whose "Angel in the House" is a most finished piece of writing, and the sweetest analysis we possess of quiet modern domestic feeling; while Mrs. Browning's "Aurora Leigh" is, as far as I know, the greatest poem which the century has produced in any language. Cast Coleridge at once aside, as sickly and useless; and Shelley as shallow and verbose; Byron, until your taste is fully formed, and you are able to discern the magnificence in him from the wrong. Never read bad or common poetry, nor write any poetry yourself; there is, perhaps, rather too much than too little in the world already.

Of reflective prose, read chiefly Bacon, Johnson, and Helps. Carlyle is hardly to be named as a writer for "beginners," because his teaching, though to some of us vitally necessary, may to others be hurtful. If you understand and like him, read him; if he offends you, you are not yet ready for him, and perhaps may never be so; at all events, give him up, as you would sea-bathing if you found it hurt you, till you are stronger. Of fiction, read Sir Charles Grandison, Scott's novels, Miss Edgeworth's, and, if you are a young lady, Madame de Genlis', the French Miss Edgeworth; making these, I mean, your constant companions. Of course you must, or will read other books for amusement, once or twice; but you will find that these have an element of perpetuity in them, existing in nothing else of their kind: while their peculiar quietness and repose of manner will also be of the greatest value in teaching you to feel the same characters in art. Read little at a time, trying to feel interest in little things, and reading not so much for the sake of the story as to get acquainted with the pleasant people into whose company these writers bring you. A common book will often give you much amusement, but it is only a noble book which will give you dear friends. Remember also that it is of less importance to you in your earlier years, that the books you read should be clever, than that they should be right. I do not mean oppressively or repulsively instructive; but that the thoughts they express should be just, and the feelings they excite generous. It is not necessary for you to read the wittiest or the most suggestive books: it is better, in general, to hear what is already known, and may be simply said. Much of the literature of the present day, though good to be read by persons of ripe age, has a tendency to agitate rather than confirm, and leaves its readers too frequently in a helpless or hopeless indignation, the worst possible state into which the mind of youth can be thrown. It may, indeed, become necessary for you, as you advance in life, to set your hand to things that need to be altered in the world, or apply your heart chiefly to what must be pitied in it, or condemned; but, for a young person, the safest temper is one of reverence, and the safest place one of obscurity. Certainly at present, and perhaps through all your life, your teachers are wisest when they make you content in quiet virtue, and that literature and art are best for you which point out, in common life and familiar things, the objects for hopeful labour, and for humble love.

notes