The Atlantic Monthly, Volume 01, No. 04, February, 1858. Various

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СКАЧАТЬ sent on fools' errands, and his white coat painted like a zebra, these were but casual troubles; he was a sensible dog to despise them, when he could enjoy such quaint companionship, behold such experiments in color and drawing, serve as a model himself, and go on delicious sketching excursions to Albano and Tivoli, besides inhaling tobacco-smoke and hearing stale jests and love soliloquies ad infinitum. I am of Bif-steck's opinion. There is no such true, earnest, humorous, and individual life, in these days of high civilization, as that of your genuine painter; impoverished as it often is, baffled in its aspirations, unregarded by the material and the worldly, it often rears and keeps pure bright, genial natures whose contact brings back the dreams of youth. It is pleasant, too, to realize, in a great commercial city, that man "does not live by bread alone," that fun is better than furniture, and a private resource of nature more prolific of enjoyment than financial investments. It is rare comfort, here, in the land of bustle and sunshine, to sit in a tempered light and hear a man sing or improvise stories over his work, to behold once more vagaries of costume, to let the eye rest upon pictorial fragments of Italy,—the "old familiar faces" of Roman models, the endeared outlines of Apennine hills, the contadina bodice and the brigand hat, until these objects revive to the heart all the romance of travel.

      The technicalities of Art, its refinements of style, its absolute significance, are, indeed, as dependent for appreciation on a special endowment as are mathematics; but the general and incidental associations, in which is involved a world of poetry, may be enjoyed to the full extent by those whose perception of form, sense of color, and knowledge of the principles of sculpture, painting, music, and architecture are notably deficient. It is a law of life and nature, that truth and beauty, adequately represented, create and diffuse a limitless element of wisdom and pleasure. Such memorials are talismanic, and their influence is felt in all the higher and more permanent spheres of thought and emotion; they are the gracious landmarks that guide humanity above the commonplace and the material, along the "line of infinite desires." Art, in its broad and permanent meaning, is a language,—the language of sentiment, of character, of national impulse, of individual genius; and for this reason it bears a lesson, a charm, or a sanction to all,—even those least versed in its rules and least alive to its special triumphs. Sir Walter Scott was no amateur, yet, through his reverence for ancestry and his local attachments, portraiture and architecture had for him a romantic interest. Sydney Smith was impatient of galleries when he could talk with men and women, and made a practical joke of buying pictures; yet Newton and Leslie elicited his best humor. Talfourd cared little and knew less of the treasures of the Louvre, but lingered there because it had been his friend Hazlitt's Elysium. Indeed, there are constantly blended associations in the history of English authors and artists; Reynolds is identified with Johnson and Goldsmith, Smibert with Berkeley, Barry with Burke, Constable and Wilkie with Sir George Beaumont, Haydon with Wordsworth, and Leslie with Irving; the painters depict their friends of the pen, the latter celebrate in verse or prose the artist's triumphs, and both intermingle thought and sympathy; and from this contact of select intelligences of diverse vocation has resulted the choicest wit and the most genial companionship. If from special we turn to general associations, from biography to history, the same prolific affinities are evident, whereby the artist becomes an interpreter of life, and casts the halo of romance over the stern features of reality. Hampton Court is the almost breathing society of Charles the Second's reign; the Bodleian Gallery is vivid with Britain's past intellectual life; the history of France is pictured on the walls of Versailles; the luxury of color bred by the sunsets of the Euganean hills, the waters of the Adriatic, the marbles of San Marco, and the skies and atmosphere of Venice, are radiant on the canvas of Titian, Tintoretto, and Paul Veronese; Michel Angelo has embodied the soul of his era and the loftiest spirit of his country; Salvator typified the half-savage picturesqueness, Neapolitan Claude the atmospheric enchantments, Carlo Dolce the effeminate grace, Titian the voluptuous energy, Guido the placid self-possession, and Raphael and Correggio the religious sentiment of Italy; Watteau put on canvas the fête champêtre; the peasant-life of Spain is pictured by Murillo, her asceticism by the old religious limners; what English rustics were before steam and railroads Gainsborough and Moreland reveal, Wilkie has permanently symbolized Scotch shrewdness and domesticity, and Lawrence framed and fixed the elegant shapes of a London drawing-room; and each of these is a normal type and suggestive exemplar to the imagination, a chapter of romance, a sequestration and initial token of the characteristic and the historical, either of what has become traditional or what is forever true.

      The indirect service good artists have rendered by educating observation has yet to be acknowledged. The Venetian painters cannot be even superficially regarded, without developing the sense of color; nor the Roman, without enlarging our cognizance of expression; nor the English, without refining our perception of the evanescent effects in scenery. Raphael has made infantile grace obvious to unmaternal eyes; Turner opened to many a preoccupied vision the wonders of atmosphere; Constable guided our perception of the casual phenomena of wind; Landseer, that of the natural language of the brute creation; Lely, of the coiffure; Michel Angelo, of physical grandeur; Rolfe, of fish; Gerard Dow, of water; Cuyp, of meadows; Cooper, of cattle; Stanfield, of the sea; and so on through every department of pictorial art. Insensibly these quiet but persuasive teachers have made every phase and object of the material world interesting, environed them with more or less of romance, by such revelations of their latent beauty and meaning; so that, thus instructed, the sunset and the pastoral landscape, the moss-grown arch and the craggy seaside, the twilight grove and the swaying cornfield, an old mill, a peasant, light and shade, form and feature, perspective and anatomy, a smile, a gesture, a cloud, a waterfall, weather-stains, leaves, deer,—every object in Nature, and every impress of the elements, speaks more distinctly to the eye and more effectively to the imagination.

      The vicissitudes which sometimes attend a picture or statue furnish no inadequate materials for narrative interest. Amateur collectors can unfold a tale in reference to their best acquisitions which outvies fiction. Beckford's table-talk abounded in such reminiscences. An American artist, who had resided long in Italy and made a study of old pictures, caught sight at a shop-window in New Orleans of an "Ecce Homo" so pathetic in expression as to arrest his steps and engross his attention. Upon inquiry, he learned that it had been purchased of a soldier fresh from Mexico, after the late war between that country and the United States; he bought it for a trifle, carried it to Europe, and soon authenticated it as an original Guercino, painted for the royal chapel in Madrid, and sent thence by the government to a church in Mexico, whence, after centuries, it had found its way, through the accidents of war, to a pawnbroker's shop in Louisiana. A lady in one of our eastern cities, wishing to possess, as a memorial, some article which had belonged to a deceased neighbor, and not having the means, at the public sale of her effects, to bid for an expensive piece of furniture, contented herself with buying for a few shillings a familiar chimney-screen. One day she discovered a glistening surface under the flowered paper which covered it, and when this was torn away, there stood revealed a picture of Jacob and Rebecca at the Well, by Paul Veronese; doubtless thus concealed with a view to its secret removal during the first French Revolution. The missing Charles First of Velasquez was lately exhibited in this country, and the account its possessor gives of the mode of its discovery and the obstacles which attended the establishment of its legal ownership in England is a remarkable illustration both of the tact of the connoisseur and the mysteries of jurisprudence.

      There is scarcely, indeed, an artist or a patron of art, of any eminence, who has not his own "story of a picture." Like all things of beauty and of fame, the very desire of possession which a painting excites, and the interest it awakens, give rise to some costly sacrifice, or incidental circumstance, which associates the prize with human fortune and sentiment. I remember an anecdote of this kind told me by a friend in Western New York.

      "Waiting," said he, "in the little front-parlor of a house in the town of C–, to transact some business with its occupant, I was attracted by a clean sketch in oil that hung above the fireplace. It might have escaped notice elsewhere, but traces of real skill in Art were too uncommon in this region to be disregarded by any lover of her fruits. The readiness to seize upon any casual source of interest, common with those who "stand and wait" in a place where they are strangers, doubtless had something to do with the careful attention I bestowed upon this production. It was a very modest СКАЧАТЬ