Table-Talk - William Hazlitt (tohfa e dulha read online TXT) 📗

shadows of one side of the face, I thought my fortune made; or rather it was already more than made, I might one day be able to say with Correggio, “I also am a painter!” It was an idle thought, a boy’s conceit; but it did not make me less happy at the time. I used regularly to set my work in the chair to look at it through the long evenings; and many a time did I return to take leave of it before I could go to bed at night. I remember sending it with a throbbing heart to the Exhibition, and seeing it hung up there by the side of one of the Honourable Mr. Skeffington (now Sir George). There was nothing in common between them, but that they were the portraits of two very good-natured men. I think, but am not sure, that I finished this portrait (or another afterwards) on the same day that the news of the battle of Austerlitz came; I walked out in the afternoon, and, as I returned, saw the evening star set over a poor man’s cottage with other thoughts and feelings than I shall ever have again. Oh for the revolution of the great Platonic year, that those times might come over again! I could sleep out the three hundred and sixty-five thousand intervening years very contentedly!⁠—The picture is left: the table, the chair, the window where I learned to construe Livy, the chapel where my father preached, remain where they were; but he himself is gone to rest, full of years, of faith, of hope, and charity! The Same Subject Continued

The painter not only takes a delight in nature, he has a new and exquisite source of pleasure opened to him in the study and contemplation of works of art⁠—

“Whate’er Lorraine light touch’d with soft’ning hue,
Or savage Rosa dash’d, or learned Poussin drew.”

He turns aside to view a country gentleman’s seat with eager looks, thinking it may contain some of the rich products of art. There is an air round Lord Radnor’s park, for there hang the two Claudes, the Morning and Evening of the Roman Empire⁠—round Wilton House, for there is Van Dyke’s picture of the Pembroke family⁠—round Blenheim, for there is his picture of the Duke of Buckingham’s children, and the most magnificent collection of Rubenses in the world⁠—at Knowsley, for there is Rembrandt’s Handwriting on the Wall⁠—and at Burleigh, for there are some of Guido’s angelic heads. The young artist makes a pilgrimage to each of these places, eyes them wistfully at a distance, “bosomed high in tufted trees,” and feels an interest in them of which the owner is scarce conscious: he enters the well-swept walks and echoing archways, passes the threshold, is led through wainscoted rooms, is shown the furniture, the rich hangings, the tapestry, the massy services of plate⁠—and, at last, is ushered into the room where his treasure is, the idol of his vows⁠—some speaking face or bright landscape! It is stamped on his brain, and lives there thenceforward, a tally for nature, and a test of art. He furnishes out the chambers of the mind from the spoils of time, picks and chooses which shall have the best places⁠—nearest his heart. He goes away richer than he came, richer than the possessor; and thinks that he may one day return, when he perhaps shall have done something like them, or even from failure shall have learned to admire truth and genius more.

My first initiation in the mysteries of the art was at the Orleans Gallery: it was there I formed my taste, such as it is; so that I am irreclaimably of the old school in painting. I was staggered when I saw the works there collected, and looked at them with wondering and with longing eyes. A mist passed away from my sight: the scales fell off. A new sense came upon me, a new heaven and a new earth stood before me. I saw the soul speaking in the face⁠—“hands that the rod of empire had swayed” in mighty ages past⁠—“a forked mountain or blue promontory,”

“⁠—with trees upon’t
That nod unto the world, and mock our eyes with air.”

Old Time had unlocked his treasures, and Fame stood portress at the door. We had all heard of the names of Titian, Raphael, Guido, Domenichino, the Caracci⁠—but to see them face to face, to be in the same room with their deathless productions, was like breaking some mighty spell⁠—was almost an effect of necromancy! From that time I lived in a world of pictures. Battles, sieges, speeches in parliament seemed mere idle noise and fury, “signifying nothing,” compared with those mighty works and dreaded names that spoke to me in the eternal silence of thought. This was the more remarkable, as it was but a short time before that I was not only totally ignorant of, but insensible to the beauties of art. As an instance, I remember that one afternoon I was reading The Provoked Husband with the highest relish, with a green woody landscape of Ruysdael or Hobbima just before me, at which I looked off the book now and then, and wondered what there could be in that sort of work to satisfy or delight the mind⁠—at the same time asking myself, as a speculative question, whether I should ever feel an interest in it like what I took in reading Van Brugh and Cibber?

I had made some progress in painting when I went to the Louvre to study, and I never did anything afterwards. I never shall forget conning over the Catalogue which a friend lent me just before I set out. The pictures, the names of the painters, seemed to relish in the mouth. There was one of Titian’s Mistress at Her Toilette. Even the colours with which the painter had adorned her hair were not more golden, more amiable to sight, than those which played round and