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-The Project Gutenberg EBook of Turner, by C. Lewis Hind
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-Title: Turner
-       Five letters and a postscript.
-
-Author: C. Lewis Hind
-
-Release Date: December 23, 2012 [EBook #41694]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK TURNER ***
-
-
-
-
-Produced by sp1nd, Paul Clark and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
-Internet Archive)
-
-
-
-
-
-
-    Transcriber's Note:
-
-    Every effort has been made to replicate this text as faithfully as
-    possible, including non-standard spelling and punctuation. Some
-    changes of spelling and punctuation have been made. They are
-    listed at the end of the text.
-
-    Italic text has been marked with _underscores_.
-
-
-
-
-    MASTERPIECES
-    IN COLOUR
-    EDITED BY - -
-    T. LEMAN HARE
-
-
-
-
-TURNER
-
-1775-1851
-
-
-
-
-"MASTERPIECES IN COLOUR" SERIES
-
-
-  ARTIST.                 AUTHOR.
-
- VELAZQUEZ.            S. L. BENSUSAN.
- REYNOLDS.             S. L. BENSUSAN.
- TURNER.               C. LEWIS HIND.
- ROMNEY.               C. LEWIS HIND.
- GREUZE.               ALYS EYRE MACKLIN.
- BOTTICELLI.           HENRY B. BINNS.
- ROSSETTI.             LUCIEN PISSARRO.
- BELLINI.              GEORGE HAY.
- FRA ANGELICO.         JAMES MASON.
- REMBRANDT.            JOSEF ISRAELS.
- LEIGHTON.             A. LYS BALDRY.
- RAPHAEL.              PAUL G. KONODY.
- HOLMAN HUNT.          MARY E. COLERIDGE.
- TITIAN.               S. L. BENSUSAN.
- MILLAIS.              A. LYS BALDRY.
- CARLO DOLCI.          GEORGE HAY.
- GAINSBOROUGH.         MAX ROTHSCHILD.
- TINTORETTO.           S. L. BENSUSAN.
- LUINI.                JAMES MASON.
- FRANZ HALS.           EDGCUMBE STALEY.
- VAN DYCK.             PERCY M. TURNER.
- LEONARDO DA VINCI.    M. W. BROCKWELL.
- RUBENS.               S. L. BENSUSAN.
- WHISTLER.             T. MARTIN WOOD.
- HOLBEIN.              S. L. BENSUSAN.
- BURNE-JONES.          A. LYS BALDRY.
- VIGÉE LE BRUN.        C. HALDANE MACFALL.
- CHARDIN.              PAUL G. KONODY.
- FRAGONARD.            C. HALDANE MACFALL.
- MEMLINC.              W. H. J. & J. C. WEALE.
- CONSTABLE.            C. LEWIS HIND.
- RAEBURN.              JAMES L. CAW.
- JOHN S. SARGENT.      T. MARTIN WOOD.
- LAWRENCE.             S. L. BENSUSAN.
- DÜRER.                H. E. A. FURST.
- MILLET.               PERCY M. TURNER.
- WATTEAU.              C. LEWIS HIND.
- HOGARTH.              C. LEWIS HIND.
- MURILLO.              S. L. BENSUSAN.
- WATTS.                W. LOFTUS HARE.
- INGRES.               A. J. FINBERG.
- COROT.                SIDNEY ALLNUTT.
- DELACROIX.            PAUL G. KONODY.
-
- _Others in Preparation._
-
-[Illustration: PLATE I.--A SHIP AGROUND. From the oil painting by Turner
-in the Tate Gallery. (Frontispiece)
-
-This beautiful sea piece is essentially Turner--the result of his
-personal observation. It was painted after he had freed himself from the
-desire to rival and outvie his predecessors, and before he became
-obsessed by the passion to paint pure sunlight. "A Ship Aground" is a
-pendant to "The Old Chain Pier, Brighton," which also hangs in the Tate
-Gallery.]
-
-
-
-
-    TURNER
-
-    FIVE LETTERS AND A POSTSCRIPT
-
-    BY C. LEWIS HIND
-
-    ILLUSTRATED WITH EIGHT
-    REPRODUCTIONS IN COLOUR
-
-    [Illustration: IN SEMPITERNUM.]
-
-    LONDON: T. C. & E. C. JACK
-    NEW YORK: FREDERICK A. STOKES CO.
-
-
-
-
-CONTENTS
-
-
- LETTER I
-                                          Page
- Explanatory                                11
-
-
- LETTER II
-
- His Life: An Impression                    26
-
-
- LETTER III
-
- His Art: The Furnace Doors Open            41
-
-
- LETTER IV
-
- The Flame Ascends                          48
-
-
- LETTER V
-
- The Flame Leaps, Expands, and Expires      62
-
-
- POSTSCRIPT
-
- Turner and Two Others                      72
-
-
-
-
-LIST OF ILLUSTRATIONS
-
-
- Plate
-
-    I. A Ship Aground                                     Frontispiece
-
-       From the Oil Painting by Turner in the Tate Gallery
-
-                                                                  Page
-   II. Hastings                                                     14
-
-       From the Oil Painting by Turner in the Tate Gallery
-
-
-  III. Norham Castle                                                24
-
-       From the Oil Painting by Turner in the Tate Gallery
-
-
-   IV. The Fighting Téméraire                                       34
-
-       From the Oil Painting by Turner in the National Gallery
-
-
-    V. Venice: Grand Canal (Sunset)                                 40
-
-       From the Water-Colour by Turner in the National Gallery
-
-
-   VI. Arth from the Lake of Zug                                    50
-
-       From the Water-Colour by Turner in the National Gallery
-
-
-  VII. Lausanne                                                     60
-
-       From the Water-Colour by Turner in the National Gallery
-
-
- VIII. Tivoli                                                       70
-
-       From the Oil Painting by Turner in the Tate Gallery
-
-
-
-
-[Illustration: Drawing of Turner]
-
-LETTER I
-
-EXPLANATORY
-
-
-Yes: I remember that morning at Exeter when I surprised you making a
-drawing of the west porch of the cathedral. Timidly were the unrestored
-figures of angels, apostles, prophets, kings and warriors--very old,
-very battered--taking form in your sketch-book: timidly, for even then
-you were beginning to be troubled by the blur that rose, after an hour's
-work, between your eyes and the carven kings and saints.
-
-Your sister passed into the cathedral to her devotions carrying white
-flowers for the altar: we stayed in the sunlight. I cannot remember how
-Turner became the subject of our talk; but I think it was my mention of
-his drawing of the west front of Salisbury Cathedral done when he was
-twenty-three--one of the set exhibited at the Royal Academy in 1799,
-which hastened his election to an Associateship of the Royal Academy.
-Those were the days of the tinted architectural drawings, but in that
-magnificent Salisbury, the details indicated, yet not insistent, the old
-stones yellow in the sunshine, grey-blue in the shadow, Turner was
-already on the track of Light, the goal of his art life. He had not yet
-formulated any principle, that was not Turner's way; but those small,
-bright eyes of his had already perceived that there is light in shade as
-in shine. Girtin, that marvellous boy, his friend and fellow-student,
-was still alive; but art was in a poor state in England, in 1799,
-and we can well believe that this drawing of Salisbury made Turner a
-marked man. I could dispense with the lamp-post boys playing with hoops,
-as indeed with every figure in every picture by Turner. But he needed
-such strong foreground notes, and he, like the older landscape painters,
-troubled little about figures. Claude used to say, with a laugh, that he
-made no charge for them. Their use was to throw back the middle
-distance.
-
-[Illustration: PLATE II.--HASTINGS. (From the oil painting by Turner in
-the Tate Gallery)
-
-One of the so-called "unfinished" pictures that, after half a century of
-seclusion in the cellars of the National Gallery, were removed to the
-Tate Gallery, and opened to public inspection early in February 1906.
-This great "find," as it was called, of twenty-one Turners was the
-sensation of the year in art circles. Hastings was a favourite subject
-with Turner.]
-
-Then we talked of Turner's water-colours. Had he never composed the
-"Liber Studiorum"; never produced gorgeous dreams of glowing colour in
-his oil pictures; never with veils of luminous paint flashed sunrise
-upon white canvases; never done a moonlight, or white sails billowing
-over a wet sea, he would, in his water-colours, have earned the title of
-father of modern landscape and of Impressionism.
-
-You, who had seen nothing of Turner's work except the plates, good in
-their way, but far from being the real thing, in Mr. Stopford Brooke's
-edition of the "Liber Studiorum," hinted that you found the master
-old-fashioned. Corot, Monet, and Harpignies were your idols in
-landscape. That was not strange when I consider that your childhood was
-spent in Jersey, and your youth at Moret and in Paris, and that on your
-twentieth birthday, a few months ago, you were articled to an architect
-of Exeter, your France-loving father's native place. So the Master
-seemed old-fashioned, did he? And you were a little sceptical of my
-enthusiasm.
-
-"Ah," I said, "if you could see a range of Turner's water-colours from
-the first boyish drawing of Lambeth Palace exhibited at the Royal
-Academy when he was fifteen, through the plodding period of his
-development, cumbered with ungainly figures, but set in the Turnerian
-air and against infinite distances, as in the winding Thames from
-Richmond Hill, ever moving towards the light, on to his later visions
-when buildings, hills, and clouds shimmer in iridescent vapour! Then the
-figures of men and women disappear, and after fifty years of observation
-of Nature those old eyes see only the chromatic glories of the
-reflections and refractions of imponderable sun-rays. The lovely colours
-linger so delicately on odds and ends of paper that it seems as if a
-breath must blow them away. If you could see the sapphire, opal and
-amethyst tenderness of his 'Study on the Rhine,' the misty hills
-rainbow-tinted, the sun flushing the steep castle rock and making a
-golden pathway over the sea, you would feel that this barber's son,
-morose, mean, in whose muddled brain moved until his last day
-magnificent ideas, has given to the world the whole history of
-water-colour, from the tinted drawing, to the flame of an effect seen
-and caught in a moment of ecstasy."
-
-You were still sceptical! I acknowledge that there were others in
-Turner's day who also broke new paths--Cozens, and of course Girtin, of
-whom Turner is reported to have said, "Had Tom Girtin lived I should
-have starved." As an old man he would mumble of "Poor Tom's golden
-drawings." I acknowledge that since Turner's day the channel that he
-flooded has broadened and gushed forth into many tributaries; but he was
-the first, modelling himself on Claude, to start in pursuit of the sun,
-to break the rays, and flush the land.
-
-I quoted a Frenchman, M. le Sizeranne: "All the torches which have shed
-a flood of new light upon Art--that of Delacroix in 1825, those of the
-Impressionists in 1870--have in turn been lit at his flame."
-
-I quoted Constable--generous Constable--"I believe it would be difficult
-to say that there is a bit of landscape now done that does not emanate
-from that source."
-
-I quoted Pisarro, telling how during the war of 1870 he and Monet came
-to London, studied Turner at the National Gallery, and found in Turner
-and Constable "practical certitude in matters of technique which they
-had but vaguely suspected and discussed at the Café Guerbois." What
-would they have said had they known that Ruskin, the champion of Turner,
-the foe of Impressionism, when, in 1856, he sifted the nineteen thousand
-Turner water-colours, drawings, studies, and the "unfinished" paintings,
-had condemned the sunshine and atmosphere canvases now in the Tate
-Gallery to half a century of obscurity, because in his opinion they were
-"unfinished." Turner purposely left them unfinished and elusive as
-sunrise itself, momentary impressions of the glory of the world. The sun
-is new each day, ever uncompleted: so are these records of the flame of
-Turner.
-
-"They are golden visions," said Constable, speaking of the Venice
-pictures, "only visions, but still one would like to live and die with
-such pictures."
-
-Turner, to whom the world of men and women was a place to escape from,
-brooded on scenes that open a pathway to tired eyes leading away
-somewhere west of the sun and east of the moon; he loved distances,
-lakes that feel their way round hills to infinity, and sunsets that are
-a world in themselves. Even in his dark "Calais Pier" he must open the
-inky clouds to a blue sky swaying above the bituminous sea. In the
-"unfinished" "Chichester Canal" you may sail over that happy waterway,
-beyond the spire, on and on whithersoever your fancy leads; in the
-"unfinished" "Petworth Park" you may tramp away with the hunter and the
-hounds past the sentinel trees to that vast sky flaming and beckoning;
-in the "unfinished" "Norham Castle Sunrise" the poet-artist dreamed the
-mystery of dawn, and as he saw the miracle unfolding, he told his dream
-to you and to me; he saw the blue mists parting before the sun-rays
-rising behind the castle; saw the opalescent sky reflected in the
-water; saw, perhaps, in the mind's eye, the strong red note that the
-picture needed, and quickly set that cow standing knee-deep in the
-shallows. Turner gave all of himself to the making of this lovely
-impression, for Norham Castle, which he drew and painted so often, was
-his mascot. Sketching on the Tweed with Cadell, the Edinburgh
-bookseller, as they passed Norham Castle, Turner suddenly swept off his
-hat to the ruins. "I made a drawing of Norham several years ago," he
-explained. "It took; and from that day to this I have had as much to do
-as my hands could execute."
-
-There, I remember, I paused, noting that you were again passing your
-hands about your eyes. Troubled, you said that the blur had returned,
-and that you must work no more that day. So we walked towards the river.
-
-On the way we saw Italian workmen in blue trousers paving a road from
-cauldrons of molten asphalt. We watched the little flames leaping from
-the bubbling mass, and I drew from the sight an image of the art life of
-Turner: how he stoked his furnace with Poussin, Vandevelde, and de
-Loutherbourg, and so brought to life his dark early works such as "The
-Shipwreck" and "Calais Pier"; how as he fed his fire with Claude, Crome,
-and Wilson the furnace glowed, and the world saw the ardour of "Ulysses
-Deriding Polyphemus," and the splendour of "Dido Building Carthage";
-then when the flames leapt towards the sky there was pure Turner, the
-Turner of the "Téméraire" and the Venice dreams, a "Hastings" that has
-lost all earthly form; a dream boat passing between Headlands at
-Sunrise, and the later water-colours--the red Rigi, the blue Rigi, the
-blue and gold "Arth from the Lake of Zug," the moonlight Venice, and the
-atmospheric magic of the Lake of Uri.
-
-When we regained the Cathedral close we met your sister returning from
-her devotions. She said: "What have you been discussing this summer
-morning?"
-
-"I have been discoursing on The Flame of Turner," said I.
-
-"Ah!" said she, "there's a Turner in the Museum here."
-
-We went to the Museum and stood before "Buttermere Lake, with a part of
-Cromach Water, Cumberland--a Shower." You were silent. What a
-catastrophe--after my dithyrambs about the flame of Turner and his slow
-soar to light, that I should show you, as your first Turner, that work
-of his early stoking period, painted at twenty-two, before he learned
-the method of oil painting and the ways of the sun. The lake has almost
-gone, the trees have blackened, only the rainbow dimly lingers. The
-flame of Turner? The chrysalis husk of Turner!
-
-That poor "Buttermere Lake" is still the only picture by Turner that you
-have ever seen. And now that you are far from here, walking and digging
-in Sparta, and sailing in insecure little crafts to the Islands, I hold
-it a duty to write you in detachments this interminable letter
-explaining as well as I can what I mean by the Flame of Turner. Your
-sister will read the letters to you, ill-starred student, who, at the
-beginning of your art career, must not use your eyes for twelve months
-on penalty of blindness.
-
-When, after the last visit to the oculist, you hurried from the lawyer's
-office in Lincoln's Inn Fields, where I witnessed your Will, I did not
-tell you that a few yards away rests a glorious Turner, "Van Tromp's
-Barge entering the Texel" and sailing in golden pomp eternally through
-the Soane Museum. I saw it on my way to your lawyer's office. The
-picture is alone and I was alone with what Turner loved--a sportive sea,
-an arching sky, gold overhead, gold on the water, and a ship sailing
-home golden-hulled beneath golden sails, with flags flying at the mast,
-and a cunning wraith of indigo cloud sweeping down the sky to give the
-glamour value. You did not see the golden Van Tromp. I had not the heart
-to show it to you.
-
-[Illustration: PLATE III.--NORHAM CASTLE. (From the oil painting by
-Turner in the Tate Gallery)
-
-One of the most beautiful of the impressionistic Turners that were
-removed from the cellars of the National Gallery early in 1906, cleaned,
-and hung in the Turner Room at Millbank. Once, when passing Norham
-Castle, Turner took off his hat to the ruins. His companion inquired the
-reason. "I made a drawing or painting of Norham Castle several years
-since," answered Turner. "It took; and from that day to this I have had
-as much to do as my hands could execute."]
-
-Now you are far from Turner. I can follow your track to Olympia, and
-along the path by the wood, above the excavations, to a rough sign-post,
-where I stood two years ago and read the words "To Arcadia!" Somewhere
-beyond Arcadia you are, and some day these letters will fall, one by
-one, into your hands.
-
-
-
-
-LETTER II
-
-HIS LIFE: AN IMPRESSION
-
-
-Once in our walk from Exeter Cathedral to the river you paused and asked
-what kind of a man was this amalgam of poet-artist and suspicious
-tradesman. And I, who had been so long studying his works, and dipping
-into the lives of him by Thornbury, Hamerton, Cosmo Monkhouse, Sir
-Walter Armstrong, Mr. W. L. Wyllie, and others, tried to give an
-impression of the man Turner--a blur of his sayings, letters, habits,
-and the comments of his biographers. Some of them have bewailed that his
-was not a pattern life, such as would edify a Y.M.C.A. audience. Nature
-produces such useful lives by the hundred thousand: she makes but one
-Turner. The Church had blessed neither his union with Mrs. Danby, nor
-with Mrs. Booth, and, in his later days, he preferred rum and water with
-sea-faring men in Wapping or Rotherhithe to dreary dinner-parties in
-dreary houses in the West End of London, which does not seem to me
-strange. We must take him as he was and be grateful. It was Nature's
-whim to link this great artist-soul to the starved soul of a petty
-tradesman. As an artist he is with the immortals: as a man he was true
-son of the covetous, kindly barber of Maiden Lane, Strand, keen on
-halfpennies, a driver of hard bargains. The father haggled with his
-customers, the son with engravers and picture buyers. Secretive,
-suspicious, ambitious, sometimes mean, yet capable of great kindnesses
-and sacrifices, was this little hook-nosed man in an ill-cut brown coat,
-and enormous frilled shirt, with feet and hands notably small. Kind?
-Yes. Did he not in the Academy of 1826 cover his glowing picture of
-"Cologne--The Arrival of a Packet Boat--Evening" with a wash of
-lamp-black, because it "killed" two portraits by Sir Thomas Lawrence
-hanging alongside. "Poor Lawrence was so unhappy," said Turner. "The
-lamp-black will all wash off after the Exhibition." But Turner's moods
-were capricious. Like all blessed or cursed with the artistic
-temperament, the mood of the moment usually governed his actions. Six
-years after the lamp-black incident he had a grey picture hanging beside
-Constable's "Opening of Waterloo Bridge," and Turner (you may imagine
-the fury in his bright eyes) watched his brother artist heightening with
-vermilion and lake the decorations and flags of his City barges.
-Presently, when Constable had gone away, Turner put a round daub of red
-lead upon his grey picture, which he afterwards shaped into a buoy.
-Constable said when he returned, "Turner has been here and fired a gun."
-Turner liked a joke, and if it was sometimes at the expense of another,
-that was but the way of his class.
-
-From first to last he loved but one thing with heart and soul--his art.
-His affection for his father, and for Mr. Fawkes of Farnley Hall, were
-but interludes in his passion to interpret Nature, to make her conform
-to his visions, and to excel his predecessors and contemporaries.
-Certainly, in his way, he loved his "old dad," who lived with him until
-his death, looking after the picture gallery of unsold works in Queen
-Anne Street, and helping in the preparation of his canvases. Of his
-father he was wont to chuckle, "Dad taught me nothing except to save
-halfpence." The death of the old man was a great blow.
-
-The love affair which Thornbury relates amounts to nothing--no human
-thing ever really interfered with his art. His schooling at Brentford
-and Margate was infinitesimal--but for a landscape and sea painter, what
-education could have been better than the river and the boats at
-Brentford and the sea and ships at Margate. He remained illiterate to
-the end. When he wrote a description of St. Michael's Mount for the
-publication called "Coast Scenery," Coombes complained that "Mr. T----'s
-account is the most extraordinary composition I have ever read; in parts
-it is absolutely unintelligible." As Professor of Perspective at the
-Royal Academy he was unable to express his ideas, but, says Thornbury,
-"he took great pains to prepare the most learned diagrams."
-
-Throughout his life he extended and amended that amazing poem called
-"Fallacies of Hope," portions of which he tagged to his pictures in the
-Royal Academy Catalogue. It is doggerel with occasional glints of the
-beauty, pomp, and wonder of the world that showered when he used his
-rightful methods of self-expression--eye and hand. The romance of the
-ancient world of myth and architecture tingled in this secretive,
-slovenly, Jewy man; but when he essayed to learn Greek, in the happy
-days at Sandycombe, the attempt had to be abandoned. The slow brain
-could not master the verbs.
-
-Ambition was strong within him. No toil was too long or too severe. He
-travelled England and Europe, sketched everything, stored the forms of
-buildings and effects of light and colour; and could recall what he had
-garnered at an instant's notice. In painting he pitted himself against
-the dead, against his contemporaries, against twenty miles of country,
-against the very glory of the sun, wrestling with each in turn, and
-chuckling as they succumbed.
-
-He saved his money and in later years hoarded his pictures. He refused
-to pass potential purchasers to his studio, but Gillott, the pen-maker,
-bearded the lion in Queen Anne Street, pushed past Mrs. Danby, joked
-with the old man when he growled, "Don't want to sell!" and carried off
-in his cab some five thousand pounds worth of pictures.
-
-Turner re-bought his canvases when they came up for sale at Christie's,
-worked without cessation, practised all manner of petty economies, and
-finally left his pictures to the nation and his fortune of one hundred
-and forty thousand pounds to found a home for "decayed male artists of
-English parents and of lawful issue, with an instruction for a Turner
-medal at the Royal Academy, and a monument to himself in St. Paul's
-Cathedral."
-
-The will with its four codicils was a bewildering document. For years it
-was wrangled over in the courts, and in the end a compromise was
-effected. The fortune went to the next of kin, the pictures and drawings
-to the nation, and twenty thousand pounds to the Royal Academy. Ruskin
-summed up the compromise thus: "The nation buried, with threefold
-honour, Turner's body in St. Paul's, his pictures at Charing Cross, and
-his purposes in Chancery."
-
-If Turner, as he eyes the landscape of the Elysian Fields, retains aught
-of earth-life frailty, he must look angrily down upon the Turner
-section of the National Gallery, upon the rooms beneath, reached by a
-winding staircase, where some of his water-colours are crowded, upon the
-sunlight canvases at the Tate Gallery; and at certain provincial
-exhibitions whither some of his works have overflowed from the National
-Gallery. For he stated explicitly in his will that the pictures should
-be kept together in a room or rooms to be added to the National Gallery,
-to be called Turner's Gallery, and to be built within ten years of his
-demise.
-
-I still hope that the Turner Gallery may be built. Perhaps the hope will
-become a reality. What a sight Turner's pictures chronologically
-arranged would be, from the dim experimental pieces and the "Moonlight:
-A Study at Millbank," to those four works, splendid failures, now at the
-Tate Gallery, that he painted the year before he died, when the mind of
-the old man, having flamed from the embers to express the opalescent
-loveliness of Venice, the grey tumult of the sea in the Whaling series,
-the glory of the sun flashed in stains of luminous colour upon white
-canvases, harked back, in the shadow of death, to the old legends he had
-always loved, and painted them as of yore, but now blurred and
-tumbling, mighty ruins rising from blue lakes by great rivers and
-arching pines, with an impossible Æneas relating his story to an
-unrealised Dido, or being admonished by a Noah's-Ark Mercury. The
-imagination remains gorgeous if chaotic; at seventy-five he still
-reaches towards the unattainable, still seeks in visions a way of escape
-from the materialism and stupidity of the world.
-
-[Illustration: PLATE IV.--THE FIGHTING TÉMÉRAIRE.
-
-(From the oil painting by Turner in the National Gallery)
-
-Exhibited at the Royal Academy in 1839. In the previous year a party of
-friends, including Turner, were bound for Greenwich by water. They
-passed a steam-tug towing a superannuated battleship. "That's a fine
-subject for you, Turner." said Stanfield. The painter took the hint, and
-produced "The Fighting Téméraire tugged to her last Berth to be broken
-up."]
-
-What a triumph to see the range of oil pictures with the water-colours
-stepping daintily through the stages of his development to those latter
-dreams of the Rhine and Swiss lakes, fairy scenes that live, as by a
-miracle, on pieces of mere paper; also the proofs of the "Liber," with
-Mr. Frank Short's interpretations of the drawings that were never
-engraved, bringing the number up to a round hundred; also the tall
-books, one cold, beautiful steel engraving on a page, such as "Château
-Gaillard" in the volume called "Turner's Annual Tour, 1834," a view
-which charms the eyes dulled by grey London and makes the feet impatient
-to be off to Richard Coeur-de-Lion's castle on the bend of the Seine.
-The portraits, sketches and caricatures, too, of Turner of Maiden Lane,
-Hand's Court, Hammersmith, Twickenham, Queen Anne and Harley Streets,
-Chelsea, and of all the world--they should hang near his life-work.
-
-You will see him, when the good time of the Turner Gallery comes, as a
-pretty youth, painted by himself, no doubt a flattering likeness, which
-hangs in the National Gallery. It is a bust portrait, full-face, with
-large estimating eyes, somewhat amazed, a heavy nose, and a dropping
-under-lip. An attractive boy; but you must remember that Turner the
-idealist painted it, and that he had worked for a time in the studio of
-Sir Joshua Reynolds.
-
-Nearer to the Turner that one visualises is the sturdy middle-aged man
-seated under a tree, cross-legged, pencil in hand, in the painting by
-Charles Turner. The brickdust face is clean-shaven, the nose
-unmistakably Semitic; the hair is long, and the whiskers straggle to the
-collar. A drawing rests upon his knee; he looks forth with an eye like a
-sword, considering how he shall change the landscape. The sketch by
-Maclise is a delight. Turner sits on a stool up in the clouds,
-painting; the tail of his coat flaps over towards the earth, his boot is
-crooked into the support of the easel, and beneath him rises the sun
-with the word "Turner" blazoned amid the rays. But the best of the
-series, because it has that touch of caricature which often approaches
-nearer to life than a reasoned drawing, is the portrait by William
-Parrott made on Varnishing Day at the Royal Academy in 1846, when he was
-seventy-one. Turner is painting furiously upon his picture. The frame
-stands on the floor. The top is but an inch shorter than the battered
-beaver hat crushed over upon his big head. His Mrs. Gamp umbrella leans
-against a chair. His fellow-Academicians stare at his picture and at his
-colour-box, puzzled. "How does he do it?" they whisper.
-
-In those days the members of the Academy were allowed four varnishing
-days. In his latter years Turner would send his pictures merely laid in
-with white and grey and complete them on the varnishing days. There was
-brown sherry at luncheon, and Wilkie Collins describes the old man as
-"sitting on the top of a flight of steps, or a box, like a shabby
-Bacchus nodding at his picture." But he could paint a "Rain, Steam, and
-Speed" and "The Sun of Venice going to Sea" in spite of the brown
-sherry, and his lonely bachelor life.
-
-But brown sherry or no brown sherry, to his dying day he never lost
-interest in the love of his life, light. At seventy years of age, when
-he is described as stooping, looking down and muttering to himself, he
-would pump Brewster as to all he knew on the subject of light. Those
-were the days of the infancy of photography, and Mr. Mayall, who was
-experimenting with daguerreotypes, tells how the old man, whose eyes
-were then weak and bloodshot, would sit in his studio day after day
-asking questions. He pretended that he was a Master in Chancery.
-
-[Illustration: PLATE V.--VENICE: GRAND CANAL (SUNSET)
-
-(From the water-colour by Turner in the National Gallery)
-
-This twilight impression of the Grand Canal is one of the twenty Venice
-water-colours catalogued and described by Ruskin, and arranged by him
-for exhibition in the rooms on the ground floor of the National Gallery.
-"Turner's entirely final manner" he calls it "A noble sketch; injured by
-some change which has taken place in the coarse dark touches on the
-extreme left."]
-
-
-
-
-LETTER III
-
-HIS ART: THE FURNACE DOORS OPEN
-
-
-There is a small, neglected room in the National Gallery where certain
-beginnings and failures in art are entombed. If you were to stroll into
-that sepulchre on a dark day, I fear you would exclaim that "Buttermere
-Lake" is bright compared with those other early Turners "Morning on
-Coniston Fells" and "Moonlight: a Study at Millbank." Even on early
-March afternoons, when the sun strikes through the tall windows and
-falls upon "Moonlight at Millbank," little is visible on the small,
-sooty canvas except the full moon, looking like a discoloured white
-wafer stuck upon the dim sky. Turner developed slowly. This veritable
-nocturne, and the pictures that followed it shows how slow and difficult
-was his mastery of oil as a medium.
-
-In the early nineteenth century Claude, the Poussins, Salvator Rosa, and
-Cuyp were the idols of landscape art, which was still regarded as a
-sort of interloper in the realm swayed by religious and mythological
-pictures, portraits, genre works, and "Dutch drolleries." The academic
-pioneers in landscape had imposed themselves upon Nature and upon the
-English gentry who were the patrons of art. Landscape might be
-classically beautiful according to Claude, classically sublime according
-to Salvator, homely and mildly sunny according to Cuyp, conventionally
-maritime according to Vandevelde. Turner as a youth was not the man to
-break tradition. The cunning tradesman in him preferred the well-beaten
-path. It was his destiny to compete against the popular idols in turn,
-to sweep past them to Nature herself, and so onwards and upwards to the
-sun, the source of all light and colour. "Looked on the sun with hope"
-is one of the few simple and suggestive lines in his "Fallacies of
-Hope."
-
-Averse in his beginnings, like Velazquez, to experimentalising, he was
-content to bide his time, to plough the furrows of other men, with the
-indwelling determination to plough them better. He admired with
-generosity; he never depreciated. "Vandevelde made me a painter," he
-said, years later, and of a golden-brown Cuyp he exclaimed, "I would
-give a thousand pounds to have painted that."
-
-If ever, exiled student, we visit the National Gallery together on the
-Turner quest, I shall take you first to that room where, from the grave,
-he challenges Claude of Lorraine. Turner bequeathed "The Sun Rising in a
-Mist," painted when he was thirty-two, and "Dido Building Carthage,"
-painted when he was forty, to the nation, on condition that they should
-hang for ever "between the two pictures painted by Claude, the 'Seaport'
-and the 'Mill.'" There you have a glimpse into the mind of Turner, his
-fine envy of others, his confidence in his own power. A Frenchman, M.
-Viardot, incensed at the idea that any one should approach the throne of
-the Lorrainer, suggests that such o'ervaulting pride was a proof of
-Turner's insanity. I will not answer such foolishness, but British
-candour compels me to say that I do not think Claude suffers by the
-comparison. Turner became great when he became himself, not when he was
-trying to outvie others--Titian, Morland, Gainsborough, Crome--to name
-but four. In the year that he painted "The Sun Rising in a Mist" he was
-trying in his "Country Blacksmith" to trip Wilkie, and in "The Sun
-Rising in a Mist," as Mr. Wyllie shows, the figures are taken almost
-exactly from Teniers, and the snub-nosed, high-pooped ships from
-Vandevelde. His time was not yet. He was learning furiously, brooding
-upon and correlating his impressions of Nature, storing them for future
-use, shredding the permanent from the trivial. I think of him on that
-tossing trip to Bur Island in a half-decked boat with Cyrus Redding,
-silently watching the sea, absorbed in contemplation, climbing to the
-summit of the island in a hurricane of wind, where he "seemed writing
-rather than drawing." Not yet could he say to a companion, looking at a
-black cow against the sun, "It's purple, not black as it is painted";
-not yet had the sun begun to flood his drawings; not yet were the "brown
-tree school" angry because forms lost their details in the blinding
-light of his pictures. But in "Dido building Carthage," painted in 1815,
-the same year as the popular "Crossing the Brook," of which he thought
-so highly that he talked in his ironic, humorous way of being wrapped
-up in it as a winding-sheet, there are signs that he was feeling the
-fascination of colour.
-
-Some day you will stand at the entrance of the great Turner Room in the
-National Gallery and rest your eyes on the six huge dark pictures on the
-left wall. The dull and uninspiring "Waterloo" is later than the others;
-but to me it is just as unattractive as its companions--as I think it
-will be, light lover, to you. "The Tenth Plague" and "The Deluge" I
-never look at except when I wish to be reminded that from the chrysalis
-rises the butterfly, from the black furnace the loveliness of the flame.
-The "Death of Nelson" is dark and decorative, "Calais Pier" and "The
-Shipwreck" are dark and tremendous. "Nobody is wet," said Ruskin, and
-nobody feels that he is looking on the real Calais, or on a real
-shipwreck, yet what power they have. These funereal wild waves were made
-in Harley Street; light, to the slow-developing Turner, was still a
-studio convention. But nobody else could have made those seas. They are
-by Turner, but not by the true Turner, who strove through the veiled
-sun to the source of light itself.
-
-In "Crossing the Brook," which faces the entrance doorway, painted when
-he was forty, Turner has marched onward. The gates have opened to the
-far horizon, and he now gives us the Turnerian fifty miles or so of
-country outstretching to infinity on a few feet of canvas. If you were
-with me, I would whisper in your ear my division of "Crossing the Brook"
-into pleasing and unpleasing passages--the pleasing being the fleecy
-clouds in the blue sky, the faint miles of Devonshire, the wooded hills
-rising from the river, and the bridge that spans the water: the
-unpleasing passages are the worried foreground, the ugly rocks, the
-figures, and the black mouth of the tunnel. Yet it is a picture of which
-one becomes fond. Who can but be entranced by the distance, Turner's
-sign mark, the open gate that lures us away from the troubled foreground
-of the world.
-
-I turn from the sanity of "Crossing the Brook" to the right wall, and
-straightway I am elated, it is always so, at the sight of one of the
-magnificent dreams that the old Wizard forced oil paint and brushes to
-portray. In the centre of the wall hangs "Ulysses and Polyphemus."
-
-The furnace doors are open, from them stream a fury of glow, and in the
-fire are the dazzling shapes of Turnerian romance.
-
-
-
-
-LETTER IV
-
-THE FLAME ASCENDS
-
-
-When we visit the National Gallery I will place you with your back to
-the dark "Calais Pier" and "Shipwreck" wall, and waving my hand across
-to that glorious trio, the "Ulysses," the "Bay of Baiæ," and the
-"Carthage," I will say but one word--"Turner!"
-
-Here indeed is the magician weaving his spells, breaking the laws of
-light and shade, toying with history, caring nothing so long as he can
-picture the dreams of the pomp and beauty of the world of imagination
-that dazzled a sullen man, pottering about in a dingy London studio.
-"Ulysses deriding Polyphemus" has been called operatic and melodramatic;
-it has been remarked that the galley of Ulysses, far from the influence
-of the sun, is in full light, and that the dark shadows thrown by the
-stone-pines in the "Bay of Baiæ" are unnatural. Turner needed those
-deep blacks in the foreground; he wanted the galley of Ulysses to be
-in the light: so the old rascal forced truth to suit his vision. His
-success is his expiation. He never copied Nature or followed history.
-His way was to use Nature and history to suit his conception, the right
-way for a genius; but not for Brown, Smith, and Jones. Anachronisms
-abound in his works; he elongated steeples, rebuilt towers and towns,
-changed the courses of rivers (he in paint, as Leonardo with the
-pencil); but he caught the spirit of place. To me the "Ulysses deriding
-Polyphemus" is the very heart of romance. Unlike life, yes; all the best
-things are unlike life. I withdraw my remark that there is not a figure
-in a picture by Turner which I would not rather have erased, withdraw it
-in favour of the vast, impotent Polyphemus writhing on the cliff. When
-Turner painted the figures of gods and goddesses in the likeness of men
-and women he was bored; when he painted a giant monster like this
-Polyphemus his imagination inspired him. Asked where he found his
-subject, he invented two silly lines of doggerel and said they came from
-Tom Dibdin. His lonely visions were not for the chatter of a dinner
-party. They may be tracked in that little red book found by Thornbury in
-his studio, where, amid notes about chemistry, memoranda as to colours,
-and prophylactics against the Maltese plague, are certain scraps of
-verse, something about, "Anna's kiss," "a look back," "a toilsome
-dream," "human joy, ecstasy, and hope."
-
-[Illustration: PLATE VI.--ARTH FROM THE LAKE OF ZUG.
-
-(From the water-colour by Turner in the National Gallery)
-
-"Elaborate and lovely," wrote Ruskin. "We sleep at Arth, and are up, and
-out on the lake, early in the morning; to good purpose. The sun rises
-behind the Mythens, and we see such an effect of lake and light, as we
-shall not forget soon."]
-
-Here I pause to ask myself how I can possibly give you, who have never
-seen it, an idea of the Turner room at the National Gallery. I close my
-eyes and visualise the route. I ascend the stairs, and am detained by
-two Turners that have, against his will, overflowed into an outer
-room--the beautiful heat-hazy Abingdon, and distant London, seen from
-Greenwich. Almost reluctantly I walk into the large gallery, and pass
-from the glorious sunrise in Ulysses to the glorious sunset in "The
-Fighting Téméraire," painted just ten years later. Claude and the others
-have been left far behind. Here is Turner the visionary, alone with the
-sun and the sea, untroubled by the necessity of painting the puny figure
-of man, but glorying in the symbols of man's power, the new tug dragging
-the stately old battleship to her last berth, a theme near to his
-heart--the end of a period in man's history flickering out in the
-ageless glory of Nature.
-
-Pages, chapters, have been written about the untruth of this picture.
-"His light and shade," says Mr. Wyllie, "is very seldom correct. His
-tones are almost always wrong. The place where the sun is setting in the
-'Téméraire' is the darkest part of the picture." But what does it
-matter? This is his vision, of the absolute end of man's work in this
-daily death of Nature. Who would have one inch changed? About this, as
-about almost all the pictures, there is a story. The Téméraire "killed"
-a portrait by Geddes hanging above it, whereupon Geddes began to lay in
-a vivid Turkey carpet on his canvas. "Ho! ho!" cried Turner, who loved a
-fight; and the unfortunate Geddes watched him loading on orange,
-scarlet, and yellow with his palette knife.
-
-I close my eyes to the splendour of the "Téméraire" and see "The Burial
-of Wilkie," a silvery blue sky and sea shimmering with delicate
-reflections, the mourning, black-sailed vessel severed by the flare of
-the torches, their brilliancy and the black of the sails forming vast
-tracks of light and gloom on the water. On Varnishing Day Stanfield
-urged that the sails were untrue. Turner grunted--"Wish I had any colour
-to make 'em blacker."
-
-Then I see the "Snowstorm--Steamboat off a Harbour's Mouth making
-Signals in Shallow Water and going by the lead," which _Punch_ called "A
-Typhoon bursting in a Simoon over the Whirlpool of Maelstrom, Norway,
-with a ship on fire, an eclipse, and the effect of a lunar rainbow."
-Turner is now sixty-seven. He is prepared to push paint to its ultimate
-limit so that he can achieve the impossible. To study the effect of this
-hubbub of snowstorm and gale he put to sea in the tempest, and made the
-sailors lash him to the mast for four hours. It was the hostile
-reception of this picture following the attacks on others in previous
-years, the jeers of _Punch_, the shafts of _Blackwood_, that inspired
-Ruskin to compose "Modern Painters." The first volume was published the
-following year, 1843, but that colossal work had its beginnings in a
-letter Ruskin wrote in 1836 defending Turner's picture of Venice called
-"Juliet and her Nurse."
-
-Turner was famous long before "Modern Painters" was published, and
-although that pæan of appreciation has carried his fame to the ends of
-the English-speaking world, the riot of its praise has tipped the pens
-of some critics with gall. The "Slave Ship" exalted so eloquently by
-Ruskin, and now in Boston, was described by George Inness, the American
-artist, as "the most infernal piece of clap-trap ever painted."
-
-The aged Turner suffered from the criticisms of the "Snowstorm." Ruskin
-tells how he heard the old man one evening muttering to himself
-"Soapsuds and Whitewash." On the "Graduate of Oxford" attempting to
-soothe him, he burst out--"What would they have? I wonder what they
-think the sea's like? I wish they'd been in it!"
-
-Beneath the "Snowstorm" at the National Gallery hang two pictures,
-shining with a radiance not of the earth, "The Sun of Venice going to
-Sea," and "The Approach to Venice," wrecks perhaps of what they were,
-but still lovely, in one all the pomp of Venice, in the other all her
-haunting and elusive beauty. A little further along the wall in the
-direction of the "Ulysses" is the parent picture of Impressionism, that
-incomparable presentment of movement, mist, and moisture, aptly named
-"Rain, Steam, and Speed." The fools called this a phantom picture,
-complained that the locomotive has not the appearance of metal. Turner
-was not painting the fact of an engine; but the effect of an engine
-rushing through rain and mist. "My business," he once said to Cyrus
-Redding, "is to draw what I see: not what I know is there."
-
-In the years 1845 and 1846, when his sense of form began to fail, but
-not his sense of colour, he re-saw the sea and the sun, to the exclusion
-of other aspects of Nature. Of the thirteen pictures painted in those
-two years, all but three were of Venice or of Whalers.
-
-I wish, after our visit to the National Gallery, I could have taken you
-to the Old Masters Exhibition, and there bid you look at his "Mercury
-and Hersé," painted in 1811, when he saw with the eyes of Claude.
-Pleasant are the blue lakes, the distances and the veiled horizon, the
-faint hills and the arching sky; but they are derivative as the
-drawing-master trees and the wooden foreground with its score of dummy
-figures, its posed Mercury, its unrealised Hersé, and its architectural
-litter. When you had absorbed this "Mercury and Hersé" of 1811, I would
-have turned your gaze to the "Burning of the Houses of Parliament" of
-1835, the real Turner, seeing with his own eyes the fury of burning
-buildings, an orgy of flames roaring up to the star-sown sky. The far
-end of the stone bridge, a nocturne in the palest blues and yellows,
-drops into the fire, half the sky is aglow, half is a night blue, and
-the gold and sapphire are reflected in the water, where dim boats push
-out from the shade into the dazzle, and thousands of figures, mere
-suggestions of forms, watch the two towers, molten silver, standing
-solitary and self-contained like Shadrach, Meshach, and Abed-nego in the
-flames.
-
-It was such spade-work as the "Liber Studiorum" that enabled him to
-triumph in such an impossible subject as "The Burning of the Houses of
-Parliament." Imagine what this series of drawings meant! Claude's "Liber
-Veritatis," to rival which the "Liber Studiorum" was designed, was a
-mere record of his pictures. Turner's "Liber Studiorum" was a survey of
-Nature, classified under six heads,--architectural, pastoral, elegant or
-epic-pastoral, marine, mountainous, and historical or heroic. These
-divisions were suggested by "Dad." "Well, Gaffer," said Turner, "I see
-there will be no peace till I comply; so give me a piece of paper." He
-made each drawing in sepia; he etched the essential lines, and he
-trained a school of engravers (not without quarrelling) to engrave them.
-
-Men have loved the "Liber." Connoisseurs, like Mr. Rawlinson, have
-specialised in it. I know an enthusiast who spends hours in the course
-of the year, smoking his pipe, gazing at (a poor impression, but his
-own) No. VII., "The Straw Yard," that hangs on his study-wall against a
-reproduction of Girtin's "White House at Chelsea," and he wonders which
-he would save first if the house caught fire. I have been a quarter of
-an hour late for an appointment through returning twice to a certain
-house to enjoy again Mr. Frank Short's engravings of two of the
-unpublished drawings--the "Crowhurst" and the "Stonehenge." But I never
-knew what the "Liber" really was until I saw Mr. Rawlinson's
-collection, the depth and velvety richness of a very early state of the
-"Raglan Castle," and the large and still simplicity of the "Junction of
-Severn and Wye." Some day it may be your privilege to see them; but
-first we will descend to the ground floor of the National Gallery and
-please ourselves by making a choice among the seventy and more sepia
-drawings for the "Liber" that hang on the wall of the first room.
-
-But I doubt if you will have patience to go through all, for around, and
-in little rooms beyond, are the water-colours.
-
-[Illustration: PLATE VII.--LAUSANNE. (From the water-colour by Turner in
-the National Gallery)
-
-It may be Lausanne: it may be Berne, or merely a Turnerian Swiss dream
-of flushed spires, and a dim foreground where anything may be happening.
-This is one of the water-colours permanently on view at the National
-Gallery. The others are preserved in two large cabinets in an inner
-room, and shown in detachments at intervals of three months.]
-
-
-
-
-LETTER V
-
-THE FLAME LEAPS, EXPANDS, AND EXPIRES
-
-
-When I think of Turner it is the later water-colours that flash before
-me. The oils are magnificent, tremendous, wrought in rivalry and for
-fame: the water-colours, lyrical impressions, moods of elation inspired
-by beauty, are himself. We will go straight to the six studies that hung
-on the wall by the fireplace, essential effects selected with unerring
-instinct from the unessential, called "Running Wave in a Cross-tide:
-Evening;" "Twilight on the Sea;" "Sunshine on the Sea on a Stormy
-Evening;" "Breaking Wave on Beach;" "Sunset on the Sea;" and "Coasting
-Vessels." The very titles are lyrics. Yet they are not more beautiful
-than other interpretations, pushed into the region where feeling and
-vision merge into ecstasy--those I have already mentioned, and some, my
-particular favourites, hanging on the wall to the left of Ruskin's
-bust--the "Pilatus," the careful alchemy of "Carnarvon," and the
-atmospheric veils that part above the "Lake of Uri." Year by year other
-of his water-colours shine out momentarily at exhibitions, such as at
-the last Old Masters, when we saw the blue and gold "Lake of Thun," and
-the visionary "Lake of Zug" about which Ruskin wrote so enthusiastically
-in "Modern Painters"; and the "apocalyptic splendour" of the "Zurich" at
-Messrs. Agnew's.
-
-But one never reaches the end of his achievement in the National Gallery
-collection. A selection of the four hundred is permanently on view, but
-a greater number are stored in cabinets in an inner room, whence once in
-three months an assortment is withdrawn for exhibition. Apart from these
-there are the thousands of drawings and studies disinterred from the tin
-boxes which have been arranged chronologically by Mr. A. J. Finberg, in
-a hundred vast drawers, preparatory to his long labour on the _Catalogue
-Raisonné_.
-
-Mark their range and you will realise that the whole world was his
-province. Think of the books he illustrated--the Rivers, Harbours, and
-Southern Coast Scenery of England, the Rivers of France, to name but
-four--travelling often on foot, with his luggage in a handkerchief tied
-to the end of a stick, flushing in the inn at night transparent washes
-of colour on paper, flowing tint into tint, knowing exactly what to do,
-sponging, scraping, using knife and finger, anything to force the
-material to express his vision. Once after a Rhine tour he appeared at
-Farnley Hall with a roll of fifty-three water-colours, painted at the
-rate of three a day.
-
-I must show you the map of England and Scotland compiled by Mr. Huish,
-showing Turner's tours. It is covered with the lines of his tracks; you
-may see where he trudged or coached, and note the fourteen cathedrals,
-twenty-seven abbeys, and sixty-six castles which he drew. Similar maps
-might be made of France, Italy, and Switzerland.
-
-Thinking of his wanderings, I look from the window of one of the Turner
-water-colour rooms near to the bust of Ruskin, who arranged and
-catalogued them; I look from the window and see a line of the new,
-dandy, taximeter cabs, and plan a little journey through London we two
-would take, if you were here. We would visit Van Tromp at the Soane,
-and then drive straight to the South Kensington Museum, where there are
-golden dreams by Turner such as the "Royal Yacht Squadron, Cowes"; but
-we would not tarry with the oils, for I should be impatient to show you
-the wall of water-colours, some behind protecting blinds,--the early
-"Wrexham," ageing houses and grey-blue tower; the perfect suggestion of
-the spirit of place called "Sketch of an Italian Town," and the
-fairy-like blue, gold, and purple "Lake of Brienz," pure flame of
-Turner.
-
-Then we would speed to Millbank, enter the Tate Gallery, and stand in
-Room VII. where the recovered sunshine Turners hang in radiant array.
-Ruskin, you will remember, after Turner's death, separated the "finished
-from the unfinished." The "finished" are in the National Gallery; the
-"unfinished" are among the forty-four at Millbank. Fifty years ago they
-were deposited, hidden from public gaze, in the National Gallery; early
-in 1905 they were examined by order of the trustees, cleaned, restored,
-and found to be brilliant and fresh, as on the day when the greatest
-landscape painter the world has known, painted them.
-
-These forty-four pictures should be sorted. Some show but the tumbling
-splendour of his decline when he fumbled with his visions, and produced
-such chaotic failures as the two Deluges, the "Burning Fiery Furnace,"
-"The Angel standing in the Sun," "Undine," and "The Exile and the Rock
-Limpet." The holiday crowd, when I was last at the Tate Gallery, laughed
-as their forerunners laughed when the pictures were first exhibited.
-Their laughter enabled me to understand why Turner was secretive and
-boorish in old age, when his imagination outsoared his dwindling power
-to express his dreams in paint. Many visitors giggled and made flippant
-comments, just as _Punch_ did when the old lion's eyes began to fail and
-his hand to tremble. Had Turner ceased painting when he was nearing
-seventy he might have been spared much, but he could not stop. His
-inward eye still saw gorgeous scenes, and amid the grime of his dingy
-house in Queen Anne Street he struggled with such unearthly themes as
-this Deluge in the evening and the morning, and Napoleon in the sunset
-of his exile. These are the pictures of his magnificent decline at
-which the crowd laughed, and at that riot of forms, so glorious in
-colour, called "Interior at Petworth." But they did not laugh at the
-"Norham Castle, Sunrise," a flush of the prismatic varieties of light
-against the blue mists of dawn, or at "The Evening Star," a nocturne
-thrown off long before Whistler popularised the word, done at the period
-when, the crepuscular hour of bats and owls obsessing Turner, he
-produced those small moonlight mezzotints, wonderful, dim, silver
-things, that were found in his house after he was dead. They did not
-laugh at the "Hastings," delicate blues and golden greys, with splendour
-in the upper sky, and the whole canvas aflame with the orange sail of
-the boat drawn up on the beach; or at the Yacht racing, an impression of
-sails against a tumbling sea, or at "A Ship Aground," the ground-swell
-rolling by the helpless vessel, and the sun setting angrily behind a
-bank of cloud; or at the Tivoli, an imaginative classical landscape
-probably painted as a pendant to the "Arch of Constantine." The setting
-suggests the scenery of Tivoli; but when Turner's imagination was fired,
-he cared little about topographical accuracy.
-
-That day I waited until closing time, loth to leave these visions,
-noting with what art he had piled the chrome on the white ground in
-"Sunrise, with a Boat between Headlands," the delicacy of the faint
-hues, the gold in the sky, the gold on the cliff, splashed yonder with
-blue, and the golden boat sailing ever on.
-
-The hour drew near five. The attendant appeared, drew the curtains one
-by one over the sunshine pictures, hiding them with red hangings, all
-but the four large valedictory scenes from classical mythology, and the
-other splendid failures which have no curtains.
-
-When I left the Gallery and stood upon the terrace overlooking the
-Thames and thence towards Chelsea, I saw, in the mind's eye, the print
-published after Turner's death that I had picked years ago from a
-twopenny portfolio in the Brompton Road, showing the little house by
-Cremorne Pier where he died, under the assumed name of Booth. The sun
-shines upon the building. The Thames flows in front of it. It is said
-that as long as strength held he would rise at daybreak, and wrapped in
-a blanket, stand upon the roof watching the colour flush the eastern
-sky.
-
-[Illustration: PLATE VIII.--TIVOLI. (From the oil painting by Turner in
-the Tate Gallery)
-
-An imaginative classical landscape probably painted as a pendant to the
-"Arch of Constantine, Rome," which also hangs in the Tate Gallery. It
-has been suggested that the phantom figures are Tobit and the Angel. The
-setting suggests the scenery of Tivoli; but when Turner's imagination
-was fired, he cared little about topographical or historical
-accuracy.]
-
-The Chelsea hiding-place was discovered, but he was sinking when a
-friend found him. He died on December 18, 1851, at the window, looking
-upon the river, propped upon his couch. A full, and, I think, with
-occasional lapses--the lot of all--a happy life, for his work never
-ceased to be less than absorbing. He died in the light, having run his
-race to the goal.
-
-The account of that dinner at David Roberts' house, not long before his
-death, when he tried to propose his host's health, "ran short of words
-and breath, and dropped down in his chair, with a hearty laugh, starting
-again, and finishing with a 'hip, hip, hurrah!'" shows that the power to
-enjoy, and the sense of fun, had not withdrawn from the solitary genius,
-the "very moral of a master carpenter, with lobster red face, large
-fluffy hat and enormous umbrella," who wrestled with the sun, read Ovid,
-and Young's "Night Thoughts," tramped Europe in pursuit of beauty, and
-who was seen on the old Margate steamer studying the movement of the
-water, and the boiling foam in the wake of the "Magnet," and making his
-luncheon off shrimps strewn over an immense red handkerchief spread
-across his knee--Turner.
-
-
-
-
-POSTSCRIPT
-
-TURNER AND TWO OTHERS
-
-
-Climbing the stairs to the flat, I passed a girl who was toiling
-upwards.
-
-Pressing the button of the electric bell I watched her ascend the last
-flight. She paused. I inferred that our destination was the same, noted
-that she carried a satchel, a thick notebook, and a paper-covered
-sixpenny reprint. Mildly curious as to the title of the novel, I
-dissembled, and read "Endeavours after the Christian Life," by James
-Martineau. Therewith the stone staircase faded away, the stone walls
-opened to the past, and I saw my youth, and the figure of my father
-returning one night to the old home, his face illumined, his eyes
-shining; heard again the earnest words between him and my mother; how he
-had been at Martineau's valedictory address, how with the teacher's
-communication telling of deep things of the spirit moving within him he
-had avoided friends, unable to return suddenly to earth, and how he had
-walked home as if with wings. Those were the days when the "Endeavours"
-was a costly, exclusive, and somewhat revolutionary book. A few quick
-years, and lo! it becomes one of Allenson's sixpenny series, bought by
-the hundred thousand.
-
-The door of the flat opened, Martineau slept again with his forefathers,
-the saints of all time, and the girl and I passed into the modest room
-dedicated to one who was no saint. Yet I do not know. If a saint be he
-who by his life makes this world for others more wonderful, more
-beautiful and better worth living in, then Joseph Mallord William Turner
-was a saint. Which is strange.
-
-I did not speak of saints to our hostess, for Turner is her god, and a
-god is greater than a half-god. There is one severe note in her
-room--the bust of Cæsar on a pedestal; all the rest is beauty--sheer
-beauty. I wonder what a far-horizon Colonial, who had never seen
-Turner's later water-colours, would feel in this room; walls covered
-with sensitive copies of those flushes of radiant colour, waning blue
-dawns, purple mysteries of eve, sunlighted Swiss lakes, dream buildings,
-rainbow reaches of the Rhine, opalescent distances stretching past
-headlands into infinity.
-
-The head of Cæsar, from his tall pedestal, surveyed these lyrics in
-colour, as strange to him as would have been the "Endeavours after the
-Christian Life," that paper book, tightly clutched, hidden from view, in
-a girl's hand. Then twilight came, the lamp was lighted, and I went away
-to carry out an idea that had just shaped itself.
-
-I had never seen the house in Queen Anne Street where Turner lived with
-Mrs. Danby and the cats. Should I find the house changed--houses rather,
-for he owned three, two in Harley Street, and one in Queen Anne Street,
-communicating mysteriously at the back, and leaving the corner building
-in other hands.
-
-As I walked through the Bloomsbury Squares I thought not of Turner, but
-of another, a man, very old, very frail, bent almost double, with the
-face of a spirit and the eye of a seer, whom years ago I had met on this
-very spot, creeping round the railings which encircle the grass and
-trees--James Martineau, still lingering in the world which his spirit
-had long outsoared. I saw, in the mind's eye, that shrivelled
-octogenarian figure, and I asked at three shops for the "Endeavours
-after the Christian Life," found it in the fourth, and under lamp-post
-and by lighted windows, turned the familiar pages and read fragments.
-
-The chapter headings stirred old thoughts, and there was one passage in
-the discourse on "Immortality" that seemed the voice of the dead
-murmuring as I went westward through the dark squares, saying that we
-see here only the partial operation of a higher law, that we witness no
-extinction, but simply migrations of the mind, which survives to fulfil
-its high offices elsewhere, and find perhaps in seeming death its true
-nativity.
-
-As I walked that voice stilled the tumult of the traffic, companioned me
-through unfamiliar streets, until I knew by the brass plates on the
-doors, and the lighted rooms shining through holland blinds in upper
-stories, that I was in Harley Street, and near to Turner's house. Which
-was it?
-
-A frock-coated, shining-hatted, prosperous personage, carrying a small
-black bag, was inserting a latch-key in one of the brass plate doors. As
-I advanced, his black bag swung up to cover his watch-chain.
-
-"Which was Turner's house?" said I.
-
-"Turner! What Turner? Was he a medical man?"
-
-"No! the great Turner, I mean the Painter."
-
-He collected himself, reflected, and said: "Ah! I do remember something!
-Yes, there is a tablet on the house yonder."
-
-I peered up at the dwelling and saw, half way to the roof, a medallion,
-and the lamplight shining upon the first letters of the name Turner.
-This was the house of him who interpreted the feel of Nature, the
-movement of sea and wind, the glory of the sun, the mystery of its
-veiled face, the pomp of the world, the magic influence of light so
-transcendently that we say: "Yes! this magician was initiate! This queer
-Englishman was near to the eternal dream of his Maker."
-
-As I stood in the dark street and looked up at Turner's house, the
-Shades gathered about me. A wizard in words joined this son of a London
-barber, and that saint whose works have gone into a sixpenny edition.
-
-This was the house that Ruskin knew. Behind these walls, were stored the
-pictures and water-colours in praise of which the most eloquent, the
-most inspiring, the most wilful and bewildering book that has ever been
-written upon art, was composed. Book? A library! The index alone of
-"Modern Painters" fills one volume. On the doorstep of this house Turner
-once stood and said to his disciple, who was about to start forth on a
-foreign tour--"Don't make your parents anxious. They'll be in such a
-fidge about you." He did not understand literary enthusiasm, and I doubt
-if he ever read a page of the copy of "The Stones of Venice" that Ruskin
-presented to him.
-
-Three ghosts in a walk through London! Three great figures that trailed
-through the nineteenth century--a wizard in paint, a wizard in words, a
-wizard in holiness. Which is the greatest? Ruskin and Martineau
-explained, taught, chided, interpreted, and uplifted. Turner just acted,
-was content merely to express himself, to state his wonder at the wonder
-of the world. Is not his influence the most enduring? A man of few words
-and those mostly incoherent, who taught nothing, believed nothing, gazed
-on the sun with hope, and did superhuman things. His prayers were his
-pictures.
-
-
-    The plates are printed by BEMROSE & SONS, LTD., Derby and London
-    The text at the BALLANTYNE PRESS, Edinburgh
-
-
-
-
-    Transcriber's notes:
-
-    The following is a list of changes made to the original.
-    The first line is the original line, the second the corrected one.
-
-    depreciated. "Vandevelde made me a painter"
-    depreciated. "Vandevelde made me a painter,"
-
-    painter the world has known, painted them
-    painter the world has known, painted them.
-
-
-
-
-
-End of the Project Gutenberg EBook of Turner, by C. Lewis Hind
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