Lippincott's Magazine of Popular Literature and Science, Volume 15, No. 90, June, 1875

"Six months after this our father died, and John wished to be married at once. But Ellen, although she could not hide her attachment to him, steadily refused to engage herself on account of her invalid mother, whose only and devoted attendant she was. Fickleness was not one of my brother's faults, and he was true and steady in his love for the girl—how true and steady I never knew until I learned it from himself in my ship's cabin on the broad Atlantic. I found myself with a few thousand pounds and a careless guardian, from whom it was not difficult to get the money into my own hands. In a few weeks I left home for Liverpool, and I have never seen my native town since that day."

Uncle Joseph paused to light a fresh cigar, and then opened the cabinet and filled the two glasses again. It was the only time I ever knew him to do such a thing.

"Of course I looked naturally to the water, and saw for the first time a prospect of gratifying my boyish longing for the sea. My funds were sufficient to enable me to purchase a pretty staunch little barque and part interest in her cargo of Wedgwood and Sheffield ware, and I sailed in her as a passenger for Naples and a market. It was a foolish venture, but my friends cared just enough about me to assist me in carrying out my plans, while none gave me serious advice. It turned out well, however, and my profits were quite large. Two other voyages, one to New York and the other to Valparaiso, turned out equally well, and meantime I was using my opportunities to study navigation practically under the direction of my master, an old and able seaman. My ambition was to command my own ship and carry my own cargo, a common thing in those days, when the merchant marine of England was generally officered by men who were the peers in every respect of those who held her naval commissions. I had some prudence, however, and therefore chartered my barque and sailed her as master two short voyages to Bremen and Amsterdam with the best under-officers I could secure. Having now full confidence in myself, I sold out, bought a fine new American ship, filled her with an assorted cargo, and cleared for Rio and the South Pacific. I was now twenty-six years old, and it was eight years since I had been at Liverpool, and ten since I had heard anything of John. After my father's death his old spirit had shown itself very offensively toward me, and we had parted in anger."

I saw that my old friend was deeply moved by the memories recalled by this part of his story, and partly as a relief to him and partly to gratify my curiosity, I asked him if any of the articles which adorned the room were mementoes of these voyages.

"Every one of them has a story," he replied. "I myself caught that albatross in the Straits of Magellan with a dolphin-line trolling astern. I should have let him go again, but he beat himself to death before we could get out the hook, and I amused myself by preparing and mounting the skin. That paper-knife has a sad history. I had it made in London. The blade is cut from a walrus's tooth given to me by a whaling-captain at Hawaii, and I bought the coral which forms the handle from a diver whom I saw bring it up on the Corsican coast. He made a wager with one of my crew that he could bring up another piece of equal value by diving from the ship, went over, and was seized by a shark as he reached the surface. I heard the cry of horror from the men, and rushed to the ship's side just in time to see the water crimson with his blood.

"In the spring of 1832 I accepted a very advantageous offer for charter, and with several passengers sailed for Cape Town on what proved to be my last voyage (excepting the return trip) as a ship-master. We had rough weather most of the way out, and a long passage, but nothing occurred which would interest you now. The season was a disastrous one to shipping on that route, and before leaving the Cape I had the vessel thoroughly overhauled, and was fortunate enough to secure three or four good seamen to make up a full crew. My first officer was an old salt, a strict disciplinarian, but kind to the men and a favorite with them all. Like most of his class, he was given to profanity in private conversation, but he never swore at the men, and always encouraged them at their work with cheery words. The weather was lovely when we sailed for home, and continued so until we were four days out. The ordinary routine of a master's duty was simple enough, and I had plenty of leisure for watching the beautiful Cape pigeons which followed the ship's wake, my favorite amusement when tired of reading. We were a little out of the common track of vessels in those seas, and sighted very few sail, none of which passed within hail. On the morning of the fifth day out I indulged myself a little, having been up quite late the night before studying the charts, and it being the first mate's watch, a man in whom I had great confidence. When I turned out I found the ship becalmed. We were not yet in the calm latitudes, and I did not altogether like the looks of the weather. The sea was as smooth as an immense expanse of blue steel; there was a long, low swell, like the memory of yesterday's breeze, but not a ripple could be detected by the glass in any quarter; the sky had an almost coppery glow, and the sun blazed down with a force which made all the seams of the deck-planks sticky with melting pitch. Still, the barometer was rising, and there was nothing to indicate danger. Although competent to perform skillfully all the duties of my profession, I had not, as you know, that long experience which alone can give a seaman thorough knowledge of all his perils even before they are apparent. I felt no apprehensions, therefore; and when I saw how Mr. Kelson was overhauling every rope and sail and spar, and making everything snug alow and aloft, I only congratulated myself on having an officer who kept the men too busy to get into mischief, and lost no opportunity for putting and keeping everything in order."

I now knew that Uncle Joseph was "fairly wound off" on his yarn, for I never before had heard him use so many sea-phrases. All of them I did not fully understand, but he was evidently thinking very little of me, and did not stop to explain.

"It was about four bells when the lookout in the cross-trees sung out, 'Sail ho!'

"'Where away?' I asked.

"'Broad on the port-beam," was the answer.

"I made out the vessel with my glass very easily from the deck, but paid no more attention to the matter until I came up from breakfast, an hour later. Not a ripple was stirring, nor a ghost of a breath of wind, but the two ships were several miles nearer, and evidently approaching, though their relative position was somewhat different. She was slowly drifting on one current, and we as slowly on another diagonally across her track. The stranger was a large Clyde-built ship, and carried far more canvas than was necessary in a calm, but I thought she might be drying her sails. I was waiting for her to get within hail, but her captain anticipated me and hailed first.

"'Ship ahoy!' came over the water, 'What ship is that?'

"The Ariadne, Alford master, from Cape Town for Portsmouth. What ship is that?' I replied.

"'The Ellen, Alford master, from Liverpool for Cape Town. Will send a boat aboard with letters for home.'

"The coincidence of names had evidently not been noticed, or produced no impression. But I saw it all in a moment, and I had to grasp the mizzen-backstay to keep from falling. My brother John, whom I had not seen or heard from for nearly fifteen years, had drifted across my way on the vast and pathless ocean! Ah, how often since have I asked myself if a Providence could be clearer—if this, with all its consequences to my after-life, could have been had not He who keepeth the winds as His treasures and measures the oceans in the hollow of His hand so ordered it for the furtherance of His own wise and beneficent will! Not a thought of anger toward my brother crossed my mind—not a solitary harsh memory of the past. My heart yearned to him with a tender and womanly love, and the only shade on the brightness of my joy was the slight doubt whether he would feel thus toward me. The order had already been passed on the Ellen to lower away a boat, and my voice sounded husky and unnatural as I shouted back an invitation to her master to board me in person. I recognized John with the aid of my glass as he returned a hearty 'Ay, ay!' and dropped lightly from the futtock-shrouds into the boat. In ten minutes he lay alongside of my vessel, and in two more stood upon the deck. I remember well how my heart beat and my tongue refused its office as he stepped forward to greet his stranger host; how he stopped suddenly as if frozen to the deck when he looked full in my face; how his whole frame trembled and his cheeks grew ashy pale as he almost whispered, 'Joseph?'

"'John!'

"And then we were clasped in each other's arms and sobbed like children, while each hid his face on his brother's shoulder.

"Kelson told me afterward how the rough seamen gazed at us for a while in astonishment, and then, with a delicacy of feeling which even such unrefined natures can sometimes exhibit, moved quietly off and left us unobserved; but I forgot for a while that there was any one else on the ship besides my new-found brother and myself. It was full five minutes before either of us could utter a word, and then, after a few brief expressions of surprise and pleasure, John sent word to his first officer that he would spend the day on the Ariadne, and giving our orders to keep the ships together, which was easy enough now that both were in the same current, we retired together to my cabin.

"That day was, I honestly believe, the brightest and happiest of my life. Not a word was said by either of us in reference to any jar or unpleasantness in the past—not a reproach for long and unfraternal negligence through all these years of separation. Each listened eagerly to the story of the other's life, questioned closely for every minute detail, sympathized with every slight misfortune, and expressed a hearty pleasure in every incident of happiness or success. I learned how John had passed a year after my departure in uncertainty as to his plans for the future, and in the vain effort to break the resolution of Ellen Jones. Then he purchased a vessel, as I had done, and crossing the ocean ran for two years between New York and the West Indian ports. His career was not as fortunate as mine had been, and when, after eight years of a seaman's adventurous life, he was rewarded for his faithful devotion by the hand of the woman whom he loved, he was no richer than my father had left him. Ellen had made two voyages with him—one just after their marriage, and one two years later, after their baby died. John lost money on this last trip, but was steadily repairing his fortunes when, about a year before our meeting, he lost his ship and cargo off the coast of Newfoundland, barely escaping with his crew by the assistance of a fishing-vessel which had answered their signal of distress. This misfortune had reduced him to very straitened circumstances, and he had left his wife with five little ones at home, hoping for a successful venture in this voyage to the Cape, every guinea of his capital having been invested in a half interest in the Ellen and her cargo. There was nothing to require our attention, as our ships were lying as still and motionless, but for the drift, as if riding at anchor in a road-stead; so we talked together until the steward announced dinner, and after that adjourned to the after-deck with a box of cigars and a bottle of wine, where we resumed our conversation. The weather continued unchanged, and I shall never forget the quiet happiness of those hours as we sat under the awning looking at the Cape pigeons and schools of flying-fish, and chatting about the pleasant memories of our boyish days. It was near sunset when John Alford asked me to signal his boat, and soon afterward he left the Ariadne. We both expected the wind to rise during the night, but intended keeping our ships together until next day, and so made all our arrangements for signaling, so that we might not part company in the darkness.

"When I went below I met Kelson at the cabin door. 'The barometer's taken a start downward, sir,' said he: 'we shall have nasty weather before morning.'

"'It is very likely,' I answered, 'but I think the old ship can stand some weather. Set the watches with two good men in each, and have everything snug for a blow.'

"'Ay, ay, sir!' answered the careful fellow: 'all that's done already. I've seen these South Atlantic calms before now. The sails are all clewed up and the useless spars sent down: the boats are secured, the movables all double lashed, and the storm-staysails made ready to bend on.'

"'Then we shall only have to keep a good lookout, and if it blows, let it blow. Give the watches strict orders not to lose the Ellen, Mr. Kelson.'

"'Ay, ay, sir! The Lord grant it isn't a cyclone! I don't like 'em.'

"It was about nine o'clock that night that I heard a light ripple against the ship's side, and a moment after the creaking of the yards as the rising breeze moved them slightly. I at once went on deck, and my first glance showed me how fortunate I was in having such a first officer as Kelson. The night was as black as pitch: the wind came in little puffs and flaws, and then for a moment would die away altogether. There was a low, ominous murmur in the distance like the sighing of a pine forest, and now and then the faint muttering of thunder. Suddenly there was a sharp, jagged flash which seemed to run halfway round the horizon, followed instantly by a rattling peal like a running fire of field-pieces. A silence and a stillness followed this opening overture like that of the valley of death. I sprang to the pilot-house and seized the wheel, for I knew everything would depend upon that, but as yet there was neither lee nor weather side, for it was impossible to guess from what quarter the wind would strike us. There was a brief period of suspense, which seemed to me an hour long, the dead silence broken only by the cheery ring of Kelson's voice giving his orders with a promptness and decision which was sweet music to my ears. A moment more and the whole sky was one blaze of dazzling light; in a second of time I saw with almost supernatural distinctness every rope and spar, every brace and shroud of the ship; I saw the illimitable black expanse of water on the port side, and the Ellen, a mile distant on the starboard bow, her outlines as sharply defined as in a silhouette; I saw the figures of men ascending her shrouds, and with utter amazement I saw that her topsails were set. But as I glanced away from her I saw a dark wall of water on our starboard beam, crested with glittering foam and twenty feet or more in height, bearing right down upon us.

"'Hard a-lee!' came the voice of Kelson, drowned in a crash of thunder which words are powerless to describe, and as the good ship swung round responsive to the touch of her helm, all was again Egyptian darkness, and the wind rushed upon us with the howl and roar of a thousand hungry wild beasts. The Ariadne answered her helm like a tender-mouthed colt, but she was not quick enough for the enormous sea which the next moment broke on her starboard quarter. The decks were deluged with water, which must have swamped the ship had not every hatch been securely battened; the starboard quarter-boat was crushed like an egg-shell, and swept from her davits with the wreck of the bulwarks, which were stove in like a cigar-box; the masts bent like reeds and quivered to the keelson, and the strong mizzen storm-staysails burst with the report of a twelve-pounder. The Ariadne careened until her lee-earrings dipped into the sea, but righted herself as she came before the wind, and rose like a duck on the back of the angry swells. It was a fearful night, and every incident of it is photographed indelibly on my memory. There was not a rag of canvas on the ship except her heavy main-staysail, and yet one after another the topmasts splintered and fell, hampering the lower rigging and littering the deck with the wreck, the broken royals making terrible work as they whipped about in the storm; but it was utterly impossible to cut them loose. Well, it's getting late, and I must hurry to the end of my story. The storm lasted about three hours, and then the wind fell almost as suddenly as it rose.

"When daylight came there was no trace of the tremendous commotion of the night except the heavy swell of the wearied sea. We had weathered the gale in safety, and although the Ariadne was dreadfully battered and her rigging badly cut up, there was no damage which we were not able to repair sufficiently well to continue our voyage."

Uncle Joseph paused as if he had no more to say. I waited a moment, and then ventured to ask, "How did the Ellen get through it?"

"When the sun rose clear I swept the horizon with my glass, but she was not in sight. She has never been heard of since."

Again the old gentleman paused, but this time I dared not break the silence. At last he dropped the stump of his cigar into the ash-holder and said, "I never made but one more voyage after that, and that was to bring John's orphans to Charleston after their mother's death."

    ROBERT WILSON.

ART—EXPERIENCE OF AN IGNORAMUS

When I remember my first visits to the picture-galleries of Europe, I am filled with compassion for the multitudes of my country-folk who yearly undergo the same misery. I hope they do not all know how miserable they are, and fancy that they enjoy themselves; but with many the suffering is too great for self-deception, and they come home to look back upon those long halls, filled with the masterpieces of ancient and modern art, as mere torture-chambers, whence nothing is brought away but backache, headache, weary feet and an agonizing confusion of ideas. Some of them avenge themselves by making fun of the whole matter: they tell you that there is a great deal of humbug about your great pictures and statues; that Raphael is nearly as much overrated as Shakespeare; that it is all nonsense for people to pretend to admire headless trunks and dingy canvases. To them I have nothing to say: they find consolation in their own cleverness. But a great many are left with a mingled sense of disappointment and yearning: they cannot get rid of the thought that they have missed a great pleasure—that a precious secret has remained hidden from them, and that through no fault of theirs. It is to these, who have my sincere sympathy, and to those who have the same trials before them, that I offer the result of three years' acquaintance with the great galleries of Europe, premising that I have no technical knowledge of art: I have only learned to enjoy it.

We Americans generally bring total want of preparation with us from home: pictures and statues, their subjects and their authors, except a few of the most famous, are equally unknown to us. This is to some degree our own fault. All that we can learn by reading is valuable. I do not refer to criticism or descriptions, but what may be called the general literature of art—the lives of artists, the history of the various schools, even mythology and the lives of the saints; which last were the favorite theme during the best period everywhere except in England, whose native art is not much over a century old. This is within the reach of every one on this side the Atlantic, and to know what a picture is about is to have one source of confusion removed. Besides which, all accessory information adds much to the general interest and is a help in the first stages. Criticism is to be excepted, as tending to disturb the integrity of one's individual impressions, difficult enough to keep independent under the influence of a great name. The beginner ought not to seek the opinion of others—except in devoting his attention to the works of highest fame, which is following the verdict of the world, and not of a person or set—until he has one of his own, always bearing in mind that his is probably wrong, and keeping his conceit down and his mind open to conviction. The study of works of art with the handbooks of connoisseurs belongs to the higher branches of aesthetic education, of which I have naught to tell.

Besides reading, of course all opportunities of seeing good specimens at home should be made the most of. These are far from so rare as ten years ago. In Boston the Athenaeum, in New York the Metropolitan Art Museum, and both in the latter city and Philadelphia the private collections—which the kindness of their owners makes almost as accessible as public ones—afford us examples of most contemporary painters and of some of the older masters; while our schools of design are provided with casts from the most celebrated antique statues, and many of the best modern ones come to our shores. The Arundel Society of London publishes chromo-lithographs of uncommon merit after the finest and most curious paintings of the Old World. But the best preparation of all is a knowledge of drawing: even if nothing is acquired beyond the ability to copy a cast correctly or sketch a landscape roughly but faithfully, it is a long step over the primary difficulties of the path.

The very first of these difficulties is to know what we really like. It is probably impossible to look at a famous work with eyes clear from preconceived impressions: copies, engravings, photographs, have familiarized us in some measure with the finest things in the world. However imperfect an idea may be given by reproductions of great pictures—great in size as well as merit—whether we have seen a Marcantonio or a Raphael Morghen or only a carte de visite—a notion of their chief features is acquired: we recognize them from the farther end of the gallery, whither indeed we have generally come in quest of them, and the results are very like those of a first sight of Niagara. Everybody knows how that looks—the huge downpour of the American Fall, the graceful rush of the slenderer stream formed by Goat Island, the mighty curve and tremendous placidity of the Horseshoe Fall, the clouds of spray, the lightly poised rainbow. But all this does not give us the feeling of Niagara: one person is overwhelmed, another enraptured, very many are disappointed. Besides, we are bothered by notions of how we ought to feel at such a moment. All these hinderances the majority of us will meet at the outset. After seeing a few masterpieces, a superficial acquaintance with the characteristics of the most elaborated painters is soon acquired, and then comes the difficulty of judging honestly of the effect upon one's self of a picture which bears so great a name. Yet all Tintoretto's paintings are no more equal than Sir Walter Scott's novels or Byron's poems: Titian trips as Homer nods. Of course we cannot expect to distinguish between the good and the bad of a great master, but there is no reason for our admiring everything from his hand. A great step is gained when we know whether we are pleased or not.

All our familiarity with the composition of great pictures does not prevent our becoming bewildered by their size and color on first beholding them. The number of canvases and conflict of hues in a gallery confuse the eye and irritate the nerves. One looks down the interminable corridors, the immense halls, the endless suites of rooms, with growing dismay: as one succeeds another, and the inmost chamber seems farther off as we advance, the nightmare sense of something which is impossible, yet must be done, begins to weigh upon us. And this goes on day after day with a protracted strain upon the limbs, the senses and the brain, until real injury sometimes ensues. After traversing almost without a pause the great art-palaces of Munich, Brussels, Antwerp, The Hague and all the minor ones on the route, on reaching Amsterdam, with its inexhaustible picture-shows, I had got to the point where I sat down amidst the Rembrandts, forced to declare that I would rather look at so much wall-paper of a good pattern. This is utter folly. One cardinal rule in seeking either pleasure or profit is not to tire one's self. When time is limited and the opportunity may never recur, the temptation is almost overpowering: this is our only chance—we must not lose it. But it is lost if we overtask the perceptions and carry away no idea with us: there is no gain, and positive harm. No one new to galleries should look at pictures for more than an hour together, and I think that one who knows and cares much about them will not wish to do so for more than double that time. We learn by degrees to go through a gallery much more rapidly than at first, for unless we have adopted some plan of selection we begin by looking at every picture. After a while we merely glance at the greater number, and get over the ground much more quickly, though we spend a long time before the rest. If in this cursory survey a picture strikes and pleases you, look at it by all means, return to it again and again, and see whether the charm works or wears out: it may be the starting-point of your whole career of enjoyment. Do not run counter to your natural impulse if you have any: no matter whether you suspect the picture to be bad or by an inferior master, look at it and enjoy it as much as you can. If you are only honest with yourself, you will not care for it long if it be poor.

A good plan for getting our ideas into order on going into a gallery is to take one master and look only at his works for a day or two, and then at the others of his school, else there is a terrible confusion of names, dates, periods, manners and subjects in our heads. This cannot always be accomplished, for in some choice collections there are but a few specimens of each master, though in the large ones there are always more than enough for a beginner's first day. It is best to begin with a comparatively modern master, and work back gradually, otherwise the eye is puzzled by inaccuracies of drawing, perspective, color. The early painters can hardly be expected to delight us at first: we are shocked by the unnatural proportions, the grotesque countenances. To cite an extreme case, the first view of Giotto's frescoes, where men and women with bodies of board, long jointless fingers, rigid plastered hair, and dark-rimmed slits for eyes whose oblique glance imparts an air of suspicion to the whole assembly, will suggest merely a notion of their grotesqueness. By and by we shall grow used to the deformities, and recognize the primitive truthfulness of attitude and expression, the spirit which animates these ungainly forms and faces, until at length we look at the painter with the eyes of his contemporaries, and judge him by the standards of his own time, on which his claims rest. Then we shall admire him. The Venetians of the sixteenth century are the easiest to look at, however much of their genius and wonderful skill be lost on a novice, for they knew as much about anatomy and perspective as any painter of to-day, and their men and women are such glorious creatures, with backgrounds of such stately architecture or such magnificent scenery, all displayed in a revel of color, that pleasure outruns comprehension in the beholder.

The subject of a work of art exercises a great influence at first. Some subjects naturally attract, others awe, others repel, and some have no interest for us whatever: this, of course, is entirely apart from the intrinsic sources of enjoyment. Next we are affected by the way in which the subject is treated; and this, too, is a moral or intellectual appreciation, rather than an aesthetic one. Perhaps, as a general rule, the enjoyment of landscapes precedes that of figures, and expression strikes us sooner than form, while color comes last of all; but this differs with different temperaments. I suppose there are few who do not feel a little stupid amusement at first at inaccuracies of costume and accessories in the older pictures, but we soon become as indifferent to them as the painters were themselves. One grows so accustomed to see scriptural personages presented in the dress and surrounded by the architecture or landscape of Southern Europe of three centuries ago that the anachronism or inconsistency ceases to strike one. Perhaps it is because armor and flowing robes, colonnades and branching trees, never seem out of keeping with events of a certain dignity. I am not sure that the traveler ever becomes quite unconscious of the incongruity of the old Flemish dress and decorations, in most cases strongly enhanced by the prim composure which is the elementary expression of the earlier Netherlandish faces: this is still discernible through all transitory emotions of fear, hate, love or anguish, and does not fail to produce very tragi-comic combinations. I remember a group of a man in the dress of an Antwerp burgher sitting on a three-legged stool, with his head on the knee of a discreet-looking woman in a long-waisted, plain-skirted gown, with a high square bodice closed by a plaited neckerchief, her hair drawn tightly back under a close round cap, her pocket hanging from her girdle on one side, and on the other a small array of housewifery implements, among others a pair of scissors, with which she is clipping his locks: her expression is so placid and thrifty withal that it seemed clear she was saving a penny for her goodman instead of sending him to the barber. But this was not the painter's idea: the two were Samson and Delilah. Better than this was a painting of Susannah and the elders, where the chaste Susannah is depicted clothed to the throat like a Dutch burgomaster's wife, with a close cap and long veil, while her perilous ablutions are typified by a small wash-basin on the ground beside her. Another almost as grotesque was a Massacre of the Innocents by Peter Breughel the Elder—a snow-scene in the wide street of a red brick, high-gabled village—soldiers, parents, children, all in the stiff, ungraceful Flemish dress of the sixteenth century, the poor little children, in square trousers and pinafores, clinging to their mothers' narrow skirts. Oddly enough, it made the story more real to me than it had ever seemed before, quite painfully and terribly so, indeed: dispoiled of its usual conventional character, it became definite, and the very historical inaccuracy which destroyed the traditional conception made it an historical fact. We have only to go to Ghent and Bruges to see how the genius and devout earnestness of the Van Eycks, Van der Heyden and Hemling raise their pictures above trifling absurdities. It is undeniable that with many of us the constant presentation to our eyes of the incidents of our Saviour's life, especially His passion, gives them more reality than even the most frequent reading of the Bible. This renders the crucifixion extremely painful, intolerable in powerful pictures. I knew of an intelligent, sensitive little child who burst into convulsive sobbing before Tintoretto's great Crucifixion in the Scuola San Rocco at Venice. In the Belvedere at Vienna there is a picture by Rubens of the dead Christ in the arms of the usual small group: His mother is removing with a light, tender touch a thorn which is still piercing the cold brow. The whole picture is in the same spirit, and I never could look at it with dry eyes. Yet in Rubens's hands this and all kindred subjects are generally repulsive. The very early masters are prone to fix the attention upon some revolting detail of torture or too material and agonizing exhibition of physical suffering, but their stiff, hard outlines, absence of perspective and childishness of composition, with the element of the grotesque which is seldom absent, take the edge off their effect. Later, when art has advanced, and is capable of affecting us more deeply, refinement too has advanced: there is less simplicity, but merely painful detail is subordinated to general expression and skill of drawing and color. It is where the two meet, as in Rubens, that the result is most harrowing: the picture I have just spoken of is the only one of his in which I ever saw any sign of delicacy or tenderness, any appeal to the deeper and more exquisite emotions. Nevertheless, by degrees his genius helps one to surmount his realism. On my first visit to Antwerp I looked for a few minutes—which was as long, as I could bear it—at the great Descent from the Cross in the cathedral, and turned away with the conviction that I could never have anything but distressing and disagreeable impressions from that picture. Six months afterward I was in Antwerp again: I could not see the Descent often enough, and spent my last hour in the place before it. Yet he is a brutal painter withal, and such subjects, however magnificently treated by him, could never give me the same unmixed enjoyment as in the hands of the gentle and pensive Vandyke.

Some people maintain that all great works of art speak for themselves, and will make their appeal at once to a person capable of appreciating them, without any previous experience or education. This is impossible, for were it so the fine arts would be an exception to the rules which govern everything else in life—music, literature, moral beauty and the beauties of Nature. It must be with them as with other things: knowledge, cultivation, practice enhance the power of enjoyment. Of course, in this, as in all matters, individual organization will tell powerfully; but take an intelligent, educated person of average perceptions, who has never seen a single good picture, and set him before one of the greatest in the world, and I doubt if he would receive any genuine pleasure from it. A fortiori, an uneducated person, one who could appreciate the first masterpiece he ever saw the first time he ever saw it, would be a prodigy only second to him who could produce one without preliminary study. The picture which I think calculated to appeal most powerfully and universally is Leonardo da Vinci's Last Supper, where the grouping of the figures and the expression of each head, as well as the disposition of the whole, can hardly fail to produce a deep impression on any one of thought and feeling; yet even here there would be a first shock, to any untrained eye, from the faded colors, the defaced and spotted surface; and this must be got over before the fresco can be even seen. Moreover, in my experience, there is no pleasure connected with the whole business of seeing galleries like that of revisiting them: not only should we return to them daily on first acquaintance, but we should make a practice of seeing them again after an interval of months whenever it can be done: it is surprising what a comprehension and enjoyment of their chief treasures grows up during absence.

Little by little, through divers probations, we begin to feel ground under our feet. We have our likes and dislikes, our favorite masters, pictures and statues, which are like old friends. Instead of weariness, vexation and a vain effort to comprehend, a delightful sense of repose and coming pleasure steals over us as we enter a gallery. The lovely forms, the noble composition, the delicious color minister to us, mind and body, and soothe us like music or the smile of Nature; and the plastic arts have this advantage over music, that they are impersonal. We cannot identify ourselves with what moves us in painting or sculpture or architecture: on the contrary, it lifts us out of ourselves, away from our griefs and cares, instead of giving them a more intense and poignant expression, which at some moments is all the divinest music seems to do. Their influence is always benign and serene, and we may always have recourse to it, while the secrets of Beethoven, Mendelssohn, Chopin, Schumann lie hidden between leaves, in the keeping of crabbed little hieroglyphs, and a voice, an instrument, or perhaps an orchestra, is needed to reveal them. The picture, the statue, has no secrets but open secrets. You stand before it, and the very soul and essence of it comes softly forth and breathes upon yours. Oh moments of delight, when we lose ourselves in the soft Arcadian mood of Claude Lorrain, in the cool, tranquil revery of the Dutch landscape-painters, in the giant impetuosity of Tintoretto, in the rich, warm sensuousness of Titian, in the glowing mystery of Giorgione, in the calm, profound devoutness of the early Flemings, in the religious rapture of the early Italians! It needs no jot of technical knowledge for this, however much that may enhance our enjoyment, as it undoubtedly must. But the inspiration of a work of art may be felt by any one.

I have considered sculpture less than painting in these remarks, partly because to the majority it is less interesting, and partly because it seems to me so much simpler in itself. The absence of color, the relief of form, the unity of idea, the limitation of each subject to a single figure, or at most two or three, perhaps too the repose and simplicity which characterize antique art, make the path less arduous. I never, even in the infinite vistas of the Vatican, felt the fatigue and perplexity which have beset me in the smallest picture-galleries.

If any reader has had patience with me until now, he or she may like to know the books which were of most use to me in my apprenticeship. There is no pleasanter instructress than Mrs. Jameson, although she is superficial and sentimental, a little lackadaisical indeed: her Early Italian Painters, Sacred and Legendary Art, and the supplementary volumes on the Legends of the Madonna and of the Monastic Orders, and on those relating to the life of our Lord, have all been republished in this country. There is a finer book of the same order, Lord Lindsay's Christian Art, now out of print, but to be found in public libraries. M. Rio's work, De l'Art Chrétien (let the purchaser beware of two volumes of Epilogue, which are autobiography), is a full and admirable history of religious art: it is written from a purely Roman Catholic point of view, and his opinions are deeply imbued by prejudice. The reader will soon perceive this, however, and be upon his guard, remembering that, after all, the Roman Catholic view is the true one whence to contemplate art from the twelfth to the seventeenth century, but that art and theology are not one, nor even akin. M. Rio does not mention the Spanish school, perhaps with reason, as the Virgins of Murillo, the saints of Zurburan and Ribera, scarcely belong to the realm of religious art: this deficiency is supplied by Stirling's Annals of the Artists of Spain. Kugler's Handbuch der Kunstgeschichte (translated, I believe) is a capital and comprehensive work, including ancient as well as modern art; and the knowledge of the one is as necessary for the understanding of the other as an acquaintance with ancient history is for the comprehension of modern history. I cannot recommend Vasari's Lives of the Italian Painters entertaining as it is, for so much of each page is taken up by notes of different editors and commentators denying flatly the assertions of the text that to read him for information seems waste of time. Messrs. Crowe and Cavalcaselle's New History of Painting in Italy is the latest English authority. Mr. Charles Perkins's Tuscan Sculptors, of which we have reason to be very proud, is already the accepted standard work everywhere. Kugler's Handbook of the German and Dutch Schools, edited by Sir Edmund Head, has not been superseded, I think. It is with great hesitation that I name Mr. Ruskin in the catalogue of guidebooks: he is so arbitrary and paradoxical, lays down the law so imperiously, and contradicts himself so insolently, that a learner attempting to follow him in his theories will be hopelessly bewildered. Yet nowhere are the eternal, underlying truths upon which art rests so clearly discerned and nobly defined as in Modern Painters, The Seven Lamps of Architecture and The Stones of Venice; and nowhere do we find such poetical or beautiful descriptions. Yes, one should read these earlier books of Ruskin's, if it be but for the pleasure they give. All theories of art are useless for the American student who has not been abroad: the object is not to make up one's mind respecting the principles and limits of beauty in painting and sculpture, to form a code of aesthetics while the great pictures and statues of the world are still unknown; yet if a natural curiosity impel us to the inquiry, there are Lessing and Winckelmann, still the first authorities, despite some slight signs of human fallibility.

I will not say that all these stories of artists whose works one has not seen, that even the most brilliant and graphic descriptions of their works, have not often the bitter flavor of the Barmecide feast, but we must have faith and patience: the real banquet will be forth-coming, and then we shall see what an appetite we bring to it from our studies.

    SARAH B. WISTER.

BY THE LAKE

"Who is she?" asked Maurice Grey of the lady with whom he was walking.

"Fay Lafitte," replied the latter curtly: then, as if by chance, she turned in another direction, saying, "You left them all well at home?"

The young man halted, forcing his companion to do the same, and with his eyes fixed on a figure pacing up and down the opposite alley, he remarked, "I suppose she is one of the reigning belles here?"

"Rather a solitary belle," laughed his cousin.