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feeling than to the exposition of an abstract principle, I will permit myself so much unreserved speaking of my own causes of regret, as may enable you to make just allowance for what, according to your sympathies, you will call either the bitterness, or the insight, of a mind which has surrendered its best hopes, and been foiled in its favourite aims.

I spent the ten strongest years of my life, (from twenty to thirty,) in endeavouring to show the excellence of the work of the man whom I believed, and rightly believed, to be the greatest painter of the schools of England since Reynolds. I had then perfect faith in the power of every great truth or beauty to prevail ultimately, and take its right place in usefulness and honor; and I strove to bring the painter's work into this due place, while the painter was yet alive. But he knew, better than I, the uselessness of talking about what people could not see for themselves. He always discouraged me scornfully, even when he thanked me—and he died before even the superficial effect of my work was visible. I went on, however, thinking I could at least be of use to the public, if not to him, in proving his power. My books got talked about a little. The prices of modern pictures, generally, rose, and I was beginning to take some pleasure in a sense of gradual victory, when, fortunately or unfortunately, an opportunity of perfect trial undeceived me at once, and for ever. The Trustees of the National Gallery commissioned me to arrange the Turner drawings there, and permitted me to prepare three hundred examples of his studies

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from nature, for exhibition at Kensington. At Kensington they were and are, placed for exhibition : but they are not exhibited, for the room in which they hang is always empty.

Well—this showed me at once, that those ten years of my life had been, in their chief purpose, lost. For that, I did not so much care ; I had, at least, learned my own business thoroughly, and should be able, as I fondly supposed, after such a lesson, now to use my knowledge with better effect. But what I did care for, was the-to me frightful— discovery, that the most splendid genius in the arts might be permitted by Providence to labor and perish uselessly ; that in the very fineness of it there might be something rendering it invisible to ordinary eyes ; but, that with this strange excellence, faults might be mingled which would be as deadly as its virtues were vain; that the glory of it was perishable, as well as invisible, and the gift and grace of it might be to us, as snow in summer, and as rain in harvest.

That was the first mystery of life to me. But, while my best energy was given to the study of painting, I had put collateral effort, more prudent, if less enthusiastic, into that of architecture; and in this I could not complain of meeting with no sympathy. Among several personal reasons which caused me to desire that I might give this, my closing lecture on the subject of art here, in Ireland, one of the chief was, that in reading it, I should stand near the beautiful building,—the engineers' school of your college, —which was the first realization I had the joy to

see, of the principles I had, until then, been endeavouring to teach, but which, alas, is now, to me, no more than the richly canopied monument of one of the most earnest souls that ever gave itself to the arts, and one of my truest and most loving friends, Benjamin Woodward. Nor was it here in Ireland only that I received the help of Irish sympathy and genius. When, to another friend, Sir Thomas Deane, with Mr. Woodward, was entrusted the building of the museum at Oxford, the best details of the work were executed by sculptors who had been born and trained here; and the first window of the facade of the building, in which was inaugurated the study of natural science in England, in true fellowship with literature, was carved from my design by an Irish sculptor.

You may perhaps think that no man ought to speak of disappointment, to whom, even in one branch of labor, so much success was granted. Had Mr. Woodward now been beside me, I had not so spoken; but his gentle and passionate spirit was cut off from the fulfilment of its purposes, and the work we did together is now become vain. It may not be so in future; but the architecture we endeavoured to introduce is inconsistent alike with the reckless luxury, the deforming mechanism, and the squalid misery of modern cities; among the formative fashions of the day, aided, especially in England, by ecclesiastical sentiment, it indeed obtained notoriety; and sometimes behind an engine furnace, or a railroad bank, you may detect the pathetic discord of its momentary grace, and, with toil, decipher its floral carvings choked with soot. I felt answerable to the schools I loved, only for their injury. I perceived that this new portion of my strength had also been spent in vain ; and from amidst streets of iron, and palaces of crystal, shrank back at last to the carving of the mountain and colour of the flower.

And still I could tell of failure, and failure repeated, as years went on; but I have trespassed enough on your patience to show you, in part, the causes of my discouragement. Now let me more deliberately tell you its results. You know there is a tendency in the minds of many men, when they are heavily disappointed in the main purposes of their life, to feel, and perhaps in warning, perhaps in mockery, to declare, that life itself is a vanity. Because it has disappointed them, they think its nature is of disappointment always, or at best, of pleasure, that can be grasped in imagination only; that the cloud of it has no strength nor fire within; but is a painted cloud only, to be delighted in, yet despised. You know how beautifully Pope has expressed this particular phase of thought :

“Meanwhile opinion gilds, with varying rays,

These painted clouds that beautify our days.
Each want of happiness by hope supplied,
And each vacuity of sense, by pride.
Hope builds as fast as Knowledge can destroy;
In Folly's cup, still laughs the bubble joy.
One pleasure past, another still we gain,

And not a vanity is given in vain.”
But the effect of failure upon my own mind has been

just the reverse of this. The more that my life disappointed me, the more solemn and wonderful it became to me. It seemed, contrarily to Pope's saying, that the vanity of it was indeed given in vain; but that there was something behind the veil of it, which was not vanity. It became to me not a painted cloud, but a terrible and impenetrable one : not a mirage, which vanished as I drew near, but a pillar of darkness, to which I was forbidden to draw near. For I saw that both my own failure, and such success in petty things as in its various triumph seemed to me worse than failure, came from the want of sufficiently earnest effort to understand the whole law and meaning of existence, and to bring it to noble and due end; as, on the other hand, I saw more and more clearly that all enduring success in the arts, or in any other occupation, had come from the ruling of lower purposes, not by a conviction of their nothingness, but by a solemn faith in the advancing power of human nature, or in the promise, however dimly apprehended, that the mortal part of it would one day be swallowed up in immortality; and that, indeed, the arts themselves never had reached any vital strength or honour but in the effort to proclaim this immortality, and in the service either of great and just religion, or of some unselfish patriotism, and law of such national life as must be the foundation of religion. Nothing that I have ever said is more true or necessary-nothing has been more misunderstood or misapplied—than my strong assertion, that the arts can never be right themselves,

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