Miscellaneous Papers by Charles Dickens (uplifting book club books .txt) 📕

a corner.

Mr. Maclise's handling of the subject has by this time sunk into the hearts of thousands upon thousands of people. It is familiar knowledge among all classes and conditions of men. It is the great feature within the Hall, and the constant topic of discourse elsewhere. It has awakened in the great body of society a new interest in, and a new perception and a new love of, Art. Students of Art have sat before it, hour by hour, perusing in its many forms of Beauty, lessons to delight the world, and raise themselves, its future teachers, in its better estimation. Eyes well accustomed to the glories of the Vatican, the galleries of Florence, all the mightiest works of art in Europe, have grown dim before it with the strong emotions it inspires; ignorant, unlettered, drudging men, mere hewers and drawers, have gathered in a knot about it (as at our back a week ago), and read it, in their homely language, as it were a Book. In minds, the roughest and the most refined, it has alike found quick response; and will, and must, so long as it shall hold together.

For how can it be otherwise? Look up, upon the pressing throng who strive to win distinction from the Guardian Genius of all noble deeds and honourable renown,--a gentle Spirit, holding her fair state for their reward and recognition (do not be alarmed, my Lord Chamberlain; this is only in a picture); and say what young and ardent heart may not find one to beat in unison with it--beat high with generous aspiration like its own--in following their onward course, as it is traced by this great pencil! Is it the Love of Woman, in its truth and deep devotion, that inspires you? See it here! Is it Glory, as the world has learned to call the pomp and circumstance of arms? Behold it at the summit of its exaltation, with its mailed hand resting on the altar where the Spirit ministers. The Poet's laurel-crown, which they who sit on thrones can neither twine or wither--is that the aim of thy ambition? It is there, upon his brow; it wreathes his stately forehead, as he walks apart and holds communion with himself. The Palmer and the Bard are there; no solitary wayfarers, now; but two of a great company of pilgrims, climbing up to honour by the different paths that lead to the great end. And sure, amidst the gravity and beauty of them all- -unseen in his own form, but shining in his spirit, out of every gallant shape and earnest thought--the Painter goes triumphant!

Or say that you who look upon this work, be old, and bring to it grey hairs, a head bowed down, a mind on which the day of life has spent itself, and the calm evening closes gently in. Is its appeal to you confined to its presentment of the Past? Have you no share in this, but while the grace of youth and the strong resolve of maturity are yours to aid you? Look up again. Look up where the spirit is enthroned, and see about her, reverend men, whose task is done; whose struggle is no more; who cluster round her as her train and council; who have lost no share or interest in that great rising up and progress, which bears upward with it every means of human happiness, but, true in Autumn to the purposes of Spring, are there to stimulate the race who follow in their steps; to contemplate, with hearts grown serious, not cold or sad, the striving in which they once had part; to die in that great Presence, which is Truth and Bravery, and Mercy to the Weak, beyond all power of separation.

It would be idle to observe of this last group that, both in execution and idea, they are of the very highest order of Art, and wonderfully serve the purpose of the picture. There is not one among its three-and-twenty heads of which the same remark might not be made. Neither will we treat of great effects produced by means quite powerless in other hands for such an end, or of the prodigious force and colour which so separate this work from all the rest exhibited, that it would scarcely appear to be produced upon the same kind of surface by the same description of instrument. The bricks and stones and timbers of the Hall itself are not facts more indisputable than these.

It has been objected to this extraordinary work that it is too elaborately finished; too complete in its several parts. And Heaven knows, if it be judged in this respect by any standard in the Hall about it, it will find no parallel, nor anything approaching to it. But it is a design, intended to be afterwards copied and painted in fresco; and certain finish must be had at last, if not at first. It is very well to take it for granted in a Cartoon that a series of cross-lines, almost as rough and apart as the lattice-work of a garden summerhouse, represents the texture of a human face; but the face cannot be painted so. A smear upon the paper may be understood, by virtue of the context gained from what surrounds it, to stand for a limb, or a body, or a cuirass, or a hat and feathers, or a flag, or a boot, or an angel. But when the time arrives for rendering these things in colours on a wall, they must be grappled with, and cannot be slurred over in this wise. Great misapprehension on this head seems to have been engendered in the minds of some observers by the famous cartoons of Raphael; but they forget that these were never intended as designs for fresco painting. They were designs for tapestry-work, which is susceptible of only certain broad and general effects, as no one better knew than the Great Master. Utterly detestable and vile as the tapestry is, compared with the immortal Cartoons from which it was worked, it is impossible for any man who casts his eyes upon it where it hangs at Rome, not to see immediately the special adaptation of the drawings to that end, and for that purpose. The aim of these Cartoons being wholly different, Mr. Maclise's object, if we understand it, was to show precisely what he meant to do, and knew he could perform, in fresco, on a wall. And here his meaning is; worked out; without a compromise of any difficulty; without the avoidance of any disconcerting truth; expressed in all its beauty, strength, and power.

To what end? To be perpetuated hereafter in the high place of the chief Senate-House of England? To be wrought, as it were, into the very elements of which that Temple is composed; to co-endure with it, and still present, perhaps, some lingering traces of its ancient Beauty, when London shall have sunk into a grave of grass-grown ruin,--and the whole circle of the Arts, another revolution of the mighty wheel completed, shall be wrecked and broken?

Let us hope so. We will contemplate no other possibility--at present.


IN MEMORIAM--W. M. THACKERAY


It has been desired by some of the personal friends of the great English writer who established this magazine, {1} that its brief record of his having been stricken from among men should be written by the old comrade and brother in arms who pens these lines, and of whom he often wrote himself, and always with the warmest generosity.

I saw him first nearly twenty-eight years ago, when he proposed to become the illustrator of my earliest book. I saw him last, shortly before Christmas, at the Athenaeum Club, when he told me that he had been in bed three days--that, after these attacks, he was troubled with cold shiverings, "which quite took the power of work out of him"--and that he had it in his mind to try a new remedy which he laughingly described. He was very cheerful, and looked very bright. In the night of that day week, he died.

The long interval between those two periods is marked in my remembrance of him by many occasions when he was supremely humorous, when he was irresistibly extravagant, when he was softened and serious, when he was charming with children. But, by none do I recall him more tenderly than by two or three that start out of the crowd, when he unexpectedly presented himself in my room, announcing how that some passage in a certain book had made him cry yesterday, and how that he had come to dinner, "because he couldn't help it", and must talk such passage over. No one can ever have seen him more genial, natural, cordial, fresh, and honestly impulsive, than I have seen him at those times. No one can be surer than I, of the greatness and the goodness of the heart that then disclosed itself.

We had our differences of opinion. I thought that he too much feigned a want of earnestness, and that he made a pretence of under- valuing his art, which was not good for the art that he held in trust. But, when we fell upon these topics, it was never very gravely, and I have a lively image of him in my mind, twisting both his hands in his hair, and stamping about, laughing, to make an end of the discussion.

When we were associated in remembrance of the late Mr. Douglas Jerrold, he delivered a public lecture in London, in the course of which, he read his very best contribution to Punch, describing the grown-up cares of a poor family of young children. No one hearing him could have doubted his natural gentleness, or his thoroughly unaffected manly sympathy with the weak and lowly. He read the paper most pathetically, and with a simplicity of tenderness that certainly moved one of his audience to tears. This was presently after his standing for Oxford, from which place he had dispatched his agent to me, with a droll note (to which he afterwards added a verbal postscript), urging me to "come down and make a speech, and tell them who he was, for he doubted whether more than two of the electors had ever heard of him, and he thought there might be as many as six or eight who had heard of me". He introduced the lecture just mentioned, with a reference to his late electioneering failure, which was full of good sense, good spirits, and good humour.

He had a particular delight in boys, and an excellent way with them. I remember his once asking me with fantastic gravity, when he had been to Eton where my eldest son then was, whether I felt as he did in regard of never seeing a boy without wanting instantly to give him a sovereign? I thought of this when I looked down into his grave, after he was laid there, for I looked down into it over the shoulder of a boy to whom he had been kind.

These are slight remembrances; but it is to little familiar things suggestive of the voice, look, manner, never, never more to be encountered on this earth, that the mind first turns in a bereavement. And greater things that are known of him, in the way of his warm affections, his quiet endurance, his unselfish thoughtfulness for others, and his munificent hand, may not be told.

If, in the reckless vivacity of his youth, his satirical