tantalised my fancy ere I saw the picture. There were two portraits by the same hand—A Young Nobleman with a Glove—Another, A Companion to It. I read the description over and over with fond expectancy, and filled up the imaginary outline with whatever I could conceive of grace, and dignity, and an antique gusto—all but equal to the original. There was the Transfiguration too. With what awe I saw it in my mind’s eye, and was overshadowed with the spirit of the artist! Not to have been disappointed with these works afterwards, was the highest compliment I can pay to their transcendent merits. Indeed, it was from seeing other works of the same great masters that I had formed a vague, but no disparaging idea of these. The first day I got there, I was kept for some time in the French Exhibition Room, and thought I should not be able to get a sight of the old masters. I just caught a peep at them through the door (vile hindrance!) like looking out of purgatory into paradise—from Poussin’s noble, mellow-looking landscapes to where Rubens hung out his gaudy banner, and down the glimmering vista to the rich jewels of Titian and the Italian school. At last, by much importunity, I was admitted, and lost not an instant in making use of my new privilege. It was un beau jour to me. I marched delighted through a quarter of a mile of the proudest efforts of the mind of man, a whole creation of genius, a universe of art! I ran the gauntlet of all the schools from the bottom to the top; and in the end got admitted into the inner room, where they had been repairing some of their greatest works. Here the Transfiguration, the St. Peter Martyr, and the St. Jerome of Domenichino stood on the floor, as if they had bent their knees, like camels stooping, to unlade their riches to the spectator. On one side, on an easel, stood Hippolito de Medici (a portrait by Titian), with a boar-spear in his hand, looking through those he saw, till you turned away from the keen glance; and thrown together in heaps were landscapes of the same hand, green pastoral hills and vales, and shepherds piping to their mild mistresses underneath the flowering shade. Reader, “if thou hast not seen the Louvre thou art damned!”—for thou hast not seen the choicest remains of the works of art; or thou hast not seen all these together with their mutually reflected glories. I say nothing of the statues; for I know but little of sculpture, and never liked any till I saw the Elgin Marbles. … Here, for four months together, I strolled and studied, and daily heard the warning sound—“Quatres heures passees, il faut fermer, Citoyens”—(Ah! why did they ever change their style?) muttered in coarse provincial French; and brought away with me some loose draughts and fragments, which I have been forced to part with, like drops of lifeblood, for “hard money.” How often, thou tenantless mansion of godlike magnificence—how often has my heart since gone a pilgrimage to thee!
It has been made a question, whether the artist, or the mere man of taste and natural sensibility, receives most pleasure from the contemplation of works of art; and I think this question might be answered by another as a sort of experimentum crucis, namely, whether any one out of that “number numberless” of mere gentlemen and amateurs, who visited Paris at the period here spoken of, felt as much interest, as much pride or pleasure in this display of the most striking monuments of art as the humblest student would? The first entrance into the Louvre would be only one of the events of his journey, not an event in his life, remembered ever after with thankfulness and regret. He would explore it with the same unmeaning curiosity and idle wonder as he would the Regalia in the Tower, or the Botanic Garden in the Tuileries, but not with the fond enthusiasm of an artist. How should he? His is “casual fruition, joyless, unendeared.” But the painter is wedded to his art—the mistress, queen, and idol of his soul. He has embarked his all in it, fame, time, fortune, peace of mind—his hopes in youth, his consolation in age: and shall he not feel a more intense interest in whatever relates to it than the mere indolent trifler? Natural sensibility alone, without the entire application of the mind to that one object, will not enable the possessor to sympathise with all the degrees of beauty and power in the conceptions of a Titian or a Correggio; but it is he only who does this, who follows them into all their force and matchless race, that does or can feel their full value. Knowledge is pleasure as well as power. No one but the artist who has studied nature and contended with the difficulties of art, can be aware of the beauties, or intoxicated with a passion for painting. No one who has not devoted his life and soul to the pursuit of art can feel the same exultation in its brightest ornaments and loftiest triumphs which an artist does. Where the treasure is, there the heart is also. It is now seventeen years since I was studying in the Louvre (and I have on since given up all thoughts of the art as a profession), but long after I returned, and even still, I sometimes dream of being there again—of asking for the old pictures—and not finding them, or finding them changed or faded from what they were, I cry myself awake! What gentleman-amateur ever does this at such a distance of time—that is, ever received pleasure or took interest enough in them to produce so lasting an impression?
But it is said that if a person had the same natural taste, and the same acquired knowledge as
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