Chapter CVIII (2)

A friend who was part of the time with me observed that he had thought some of my pictures, which he had seen, compositions without the warranty of nature; but he now saw that nature supplied me with what I wanted, and acknowledged that the sketches were correct. It was then I observed that the sketcher may find almost everywhere what he has learnt to look for. The fact is, that it is not whole and large scenery, nor the most beautiful, that best suits the painter, but those parts which he can combine. The real painter looks to nature for form and colour, the elements of his art: upon these he must work; and they seldom reach any great magnitude, or are diffused over large space.

Why is it, that generally what we term beautiful scenery was seldom the ground of the old painters? They were not, generally speaking, painters of views; and why not? There the pictures were made for them. They, and all the world had the thing before them to love and to admire--it was already done; there was no room for their genius, which is a creative, not an imitative faculty. The scene for every eye was not theirs. They found that, by their art, they could take nature's best feeling, even from her fragments. It requires not an Alp to portray grandeur. Fifty feet of rock, precipitous or superimpending, will better represent the greatness of danger; for it is a more immediate and solid mass to crush the intruder, and the form may frown with a demon malice. The whole awe of darkness may be felt in a cavern of a few feet space. Indeed, it may be almost said that largeness is not to be obtained on the canvass, by the largeness of whole extensive scenes in nature, but by the continuous lines of near masses: whatever is actually largest in nature--the forest and the mountain--in art may with advantage occupy the smallest space. For the best magnitude here is in perspective, and in that aerial tone which, as a veil, half conceals, and thereby makes mysterious, and converts into one azure whole the parts which would, otherwise seen, but break up the great character. The Arabian genii were greatest when dimly seen through smoke and vapour.

Art, indeed, differs from nature in this, as regards the pleasure derived through the eye, that nature allows you many unperspective views at many instant glances, and therefore surprises you, if I may so express it, with a perspective impossibility, of which the judgment at the time is not cognisant; whereas art is bounded by a rule, looks not all around, and comprehends by mind beyond the eye, but is constrained to frame in the conception. It must, therefore, make to itself another power--and this power it finds in form, in light and shade, and colour, all which are in greater intensity and force in the fragmentary parts than in the whole and large scenes. It is a step for the young artist to believe that art and nature are not and should not be the same--that they are essentially different, and use their materials differently, have other rules of space and largeness. If art be more limited, its power is greater by being more condensed,--and its impressions more certain, because more direct, and not under the vague and changeable process of making an idea from many perspectives.

If there be truth in these remarks, we may see why the old masters left untouched those scenes which are the delight of tourists. To copy the scene before them was to put their creative faculty in abeyance. It was only to work after a given pattern--and that pattern imperfect--of a whole which defied the laws of optics. I here speak almost entirely of the Italian masters, both the historical, and more strictly the landscape painters. The Flemish and Dutch schools had mostly another aim, and were more imitative; hence they are more easily understood, but felt with a far less passion. But even these, far from undervaluing the conventional aids of art, applied as much of them as the nature of their subjects would admit.

But the sketcher must not consider himself in his studies when he is out with his portfolio. However he may select, he must be faithful. And this fidelity I have seen painters of great skill often unwisely contemn, become too conventional, both in their drawing and colouring. It requires much practice of the eye, as well as that knowledge which constitutes taste, to frame in as it were pictures, from the large space that fills the eye. Nothing is more useful than to carry in the portfolio a light frame of stiff paper or wood, and to hold it up, so as actually to frame in pictures, and thus to experimentalise upon the design, and see what shiftings of the frame make the best choice. It is an assistance even to the most practised in composition.

Lynmouth is greatly improved of late years in accommodation; many new lodging-houses are built, and there are some residents who have shown great taste in laying out their grounds, and in their buildings. The little pier has been rendered picturesque, by the erection of a small look-out house after a model from Rhodes. There is not much here at any time that would deserve the name of shipping; but a few fishing boats, and such small craft compose well with the little pier. The evenings are very fine, the sun setting over the Channel; and the Welsh coast in the distance assumes, occasionally, a very beautiful ultramarine blue, like a glaze over warm colouring. When the tide comes in, and the little vessels are afloat, these are good subjects, the water being of a gray green, softening the reflections. I began a sketch when the boats were aground; but the tide, coming in rapidly, soon so altered the position of the vessels that I did not proceed. When the tide receded, leaving the vessels aground, they were not in the same direction in which I had sketched them; and an artist who was present remarked, that the beauty of the scene as a composition was gone, and referred to the sketch. This led to some discussion, as to the cause--Why should it be less good now, said he, than when you drew it? I believe I saw the reason, and pointed it out. There was a sloop, larger by much than all the rest, which were indeed, though having masts, but boats. The larger vessel was the principal object, even more so than the buildings on the pier, towards which it leaned; and this leaning was important, for a union and certain connexion of parts was everything here, for it made one of many things. Accordingly, the smaller boats on each side the larger vessel inclined their masts towards it; so that this manifest uniting, and the belonging of one to the other, was the pleasing idea, and invested the whole with a kind of life and sensitiveness; but in the alteration, after the receding of the tide, this communication of the one with the other was gone, and, on the contrary, there was left an uncomfortable feeling of disunion.

This reasoning was admitted, and we further discussed the principle involved in the remarks, as applicable to all scenes and subjects. It is this correspondence of part with part which animates the works of nature, invests them with an ideal sensitiveness; and through this fond belief of their life, our own sensitiveness is awakened to a sympathy with them. Whatever inanimate objects we in our fancy invest with life, through our own sympathy, we clothe with a kind of humanity; and thus we look on trees and rocks, and water, as to a degree our fellow creatures, in this great wild world. We love accordingly. _Nihil humanum a me alienum puto._ The very winds speak to us as human voices, as do the trees in their whisperings or complainings; and the waters are ever repeating their histories and their romances to our willing ears. As we walked we tested the principle, and were believers in its truth. "Mark," said our friend, "that bank of fern--how graceful, how charming, is their bending, their interchange, their masses and their hollow shades, their little home-depths, wherein they grow, and retire as their home-chambers: there is throughout the pleasing idea of a family enjoying their quiet existence, and all in one small green world of their own." He enjoys nature most worthily, and most intensely, who carries with him this sense of nature's life, and of a mutuality, a co-partnership with the blessings of existence with himself. There are some fine rocks at the base of the precipitous cliffs--of fine form and colour; I never went sufficiently near to sketch them, having no fancy to be caught by the tide. I have seen sketches made amongst them that prove them to afford very good subjects. Many years ago, while sitting under these cliffs, I heard a groan; I thought at the time it must have been a delusion, but on that evening a man had fallen over the cliffs. His body was, I think, found the next day. It fell from Countesbury Hill, the road on which is certainly not sufficiently protected. And this reminds me to speak of an alarming occurrence on the road, about half a mile from Lynmouth. We were a small party, and had taken shelter from rain against the receding part of the rocks cut for the widening the road. I and another were reading a newspaper. Looking up, we suddenly saw a woman on horseback very near us. The animal started, and was frightened at the newspaper. Our endeavour to conceal it made the matter worse; the horse retreated from us, and I think his hind legs could not have been many inches from the precipice. It was a trying moment; one step more back would have been certain death to both the woman and the horse. We were truly happy when, by a little management, we contrived to get them past us. The road, too, is in these dangerous places very narrow; yet the people venture to drive at a good pace, and without reins, their uncouth and apparently unmanageable teams--neither quite dray nor cart--fearlessly. It is surprising that accidents do not often occur, especially as there is some danger from the falling of masses of stone from above; and even such as the sheep remove with their feet may frighten horses, and precipitate all to sure destruction. There are great rents in huge masses of rock, close to the road, and some apparently are kept firm with but little earth, and seem to threaten a move. I have had some blows on the back occasionally from small stones, cast down by passing sheep, while I have been sketching down by the water; and once so large a one took the corner of my portfolio, that with my best speed I quitted the place. That was some years ago; but I have recently seen not very small fragments fall very near me. I would, therefore, caution the sketcher to choose as safe a position as he can, which he may generally find under some projection of rock. Some of the masses in the bed of the river are of enormous size; and let me here remark upon the fine, bold character these masses in the river possess--they are very fine in form, and the beauty and variety in their colouring are quite wondrous. Some are very dark, entirely covered with brown, and some with, bright golden moss. But most of them when dry are gray--but one name will not describe that gray, varying as it does from the blue to the green and pink hues. They are commonly in bold relief against the dark water--yet themselves show dark, edged by the white foam, where the water, sloping insinuatingly, falls and rushes by them. Here and there, in some deep-shaded, wild, lonely places, they are of gigantic size, and look like huge Titans turned to stone, amid the fragments that had hurled them down. The sketcher may easily imagine himself in the territory of magic. Shall I confess that, in such places, I do not like to sketch alone? And why not? Why should there be a something like a superstitious awe of the spot, the "_severi religio loci_?"

Doubtless it is because we do feel contradicting knowledge, in this consciousness of all nature in its own life and power. Nor can we divest ourselves of a kind of natural poetry--a feeling that the rocks, the wild trees, and the somewhere though unseen "_genius loci_" all look at us, and we fancy ourselves but under sufferance, and know not how long our presence may be endured. It is surprising how a sense of such presences possesses us when alone. I could often have fancied voices, and mocking ones too, in the waters, and threats that thundered in the ear, and went off as if to fetch and bring whole cataracts down upon me. In such places I do not like to be caught by the dusk of the evening, being quite alone.

The fact is, nature, to a real lover and sketcher, is at all times powerful. Scenes affect him as they affect no other. I have often surprised people by the assertion that I could not live in the midst of fine scenery; it is too powerful, it unnerves one with an unrelaxing watchfulness. The presence of the mountain will not be shaken off. It becomes a nightmare upon the spirits, holds communion with the wild winds and storms, and has fearful dealings I would not dream of in the dark, howling, dismal nights. Nor, when the sombre light of a melancholy day just obscures the clouds that have been gathering round it, would I in imagination draw the curtain to behold the unearthly drama.

There is something terrific in the sound of unseen rushing water. When all else is still in the dark night, and you are uncertain of the path, and feel the danger that a false footing may plunge you into an abyss of waters, that seem to cry out and roar for a victim, have you not felt both fear and shame? Recently I experienced this in Lynmouth, having in the darkness lost my way. To the poet and the painter, here is a source of the sublime. Plunge your pencil boldly into this eclipse, and work into it a few dim lights formless and undefined--the obscure will be of a grand mystery. The night-darkness that settles over fine mountainous scenery does not remove the sense of its presence; as its lakes blacken, they become fabulous, of unknown depths, below which may be infernal "bolge." But I am wandering into strange regions now, and far from Lynmouth, whose scenes, after all, are not of a very severe beauty, unless we will to make it so. It will then answer the demand imagination makes upon it. Many are the scenes of a purely quiescent kind, still and calm, and of gentle repose, where the shallow river shows its amber bed, wherein the gleams rest upon the well-defined ledges beneath, whose gray shadows melt into golden tints; and beyond, in the deeper pools, the green of the trees is reflected greener still, across which here and there is a gray streak, showing the river's silent onward movement; and further on, some dark stones send their brown and purple hues, mirrored and softened down into the green, just dotted here and there with white. Then the trees shoot out lovingly from the bank overhead, and reach and communicate pleasantly with those on the opposite side; and here a bough sends down and just forbears to touch the stream, Narcissus-like, loving its own image. The gray stones in the foreground, half beneath the water, are of a delicate hue, blue intermingling with pale greenish and lakey tints; for there is nothing violent in all this scene of peaceful repose. Very many spots of this kind are there that court the sketcher. Let him wind his way over masses of stone, and roots of trees, beyond these--the scene how changed! The masses of stone are huge, blocking up, in various positions, the free passage of the river, which chafes and foams between them, throwing off its whiteness into the brown and green water depths. One broad shadow is over the dark stones; and beyond that rise the tops of other masses, gray illuminated; and beyond them, a gleam or two of falling water. Wilder are the trees that shoot out, from rocky fragments near, and lock their branches with those on the other side; while in the hollow space beneath their arching boles, distant and fantastic stems cross the stream. Opposite are huge masses, ledges with precipitous and brown-mossed sides; above which the high rocky bank sends forth large trees, their roots twisting about the rocks and coming out again through the fissures, and met by green weed leafage. The trees are darker than the dun-red ground, but edged with greenish light; and above them the yellow sunlight gleams through, and the dotted blue of sky is just seen; and, as avoiding the light, a huge branch, or limb rather, shoots down, edged with the light on its upper surface, and dark underneath, and throws a scanty defined leafage across over the depth of the river. But this precipitous bank again terminates towards the ledges in fine masses, rocks that project and recede, partially luminous with reflected light, and then falling back into extreme brown and purple darkness, down into which the ivy falls clustering and perpendicular, with innumerable briar-like shoots and tendrils. Here are severer studies. They are to be found by crossing the Lyn by the wooden bridge, not far from Lynmouth, and following the path through the wood some way, and seeking the bed of the river by a scarcely-discernible sheep-path, till it be lost at the edge of a downward way, not very difficult of descent. Within a very small space, there are fine and very different subjects. One of scarcely less grandeur than the last described, if it had not more beauty blended with it; but it must be seen in the sun's eye--the best time will be about 3 o'clock. Reach a large stone that juts out from the river's side, climb it, and look down the stream. You must sketch rapidly, for the charm will not last--it is most lovely in colour, and the forms are very beautiful. The opposite side of the river may be termed a mountain side, broken into hollows, in which rock and vegetation deepen into shade. The top is covered with trees, very graceful, the sun edges their tops, and rays flow through them, touching with a white and silver light the ivied rock, which is here perpendicular. Beyond this mountain-side, which juts out, is another clothed cliff, terminating at the base in bold and bare rock; beyond this, and high above, shooting into the sky, are piled rocks of a wild and broken character, gray, but dark against the distant mountain range, of an ultramarine haze, over warm and slightly marked downward passages; above is the illumined and illuminating sky. On the side of the river from which this lovely view is seen, are large masses, backed by trees, which shoot across, but high overhead, so that in the sketch the leafage would drop as it were from the sky into the middle of the picture. The river itself is quite accordant in colour, and in the forms and light and shade of the stones, that, though so large, are dwarfed by the large precipitous rocks perpendicular above them. The course of the stream is away from the eye of the spectator--is in parts darkly transparent and deep--here and there showing the white foam, and in other parts its amber and reddish bed.

A little further back from this point of view is another of the same scene; I am doubtful which would make the best picture. On the very same stone from which I sketched the scene described, turning with my back to the opposite side of the river, I was much struck with the fine forms and solemn light and shade of a rock, that was cavernously hollow at its base, and very near the stream. Above it, and declining into the middle of the picture, the sunlit boles of coppice-trees, rising among the light-green leafage, made the only positive sunlight of the picture: whatever else of light there was, was shade luminous. This rock was united with another across the picture, that thus made a centre and opening for the coppice, dotted with the blue sky; but all that side of the picture was in very dark shadow, being rock perpendicular, through the depth of which light and boldly formed trees rose to the top of the picture, and threw down leafage into the deep shade. The colouring of the cavernous hollow was remarkable: it was dark, yet blending gray, and pink, and green. The scene was of an ideal character; and I doubt if the sketch, though taken with as much truth as I could reach, would be thought to be from nature. The same rocky mass, taken in another direction, supplies a very different but perhaps equally good subject for the pencil. I say these sketches are of an ideal kind. It may be asked--Are they not true?--are they not in nature? They are; but still for a better use than the pleasure of the imitation a mere sketch offers. These are the kinds of scenes for the painter's invention, into which he is to throw his mind, and to dip his pencil freely into the gloom of his palette, and concentrate depths, and even change the forms, and even to omit much of the decorative detail, and make severity severer. He would give the little trees a wilder life, a more visible power, as if for lack of inhabitant they only were sentient of the scene. If a figure be introduced, they would be kept down, but shoot their branches towards him, for there would be an agreement, a sentient sympathy. But what figure? It is not peaceful enough for a hermit; too solemn for the bandit, such as Salvator would love to introduce; an early saint, perhaps a St Jerome--no unapt place for him and his lion: and somehow it must be contrived to have the water perhaps entering even into the retreat, and reflecting the aged, the hoary bearded saint. Is not then the subject ideal, and the sketch only suggestive? And here let me remark, with regard to that favourite word "finish,"--an elaborate finish of _all_ the detail, either of objects or colouring, would ruin the sketch; it would lose its suggestive character, which is its value. I have here described, I know how inadequately, several very striking scenes; yet are they scarcely a stone's throw apart. I mention them exclusively on that account, for, where there is so much, it must be the more worth the while of the sketcher to take some pains to find out the spot.

What do we mean by the "ideal" of landscape? The "naturalists" ask the question in a tone of somewhat more than doubt. The sketcher is apt to be caught in the snare of nature's many beauties, and, growing enamoured of them in detail, to lose the higher sense in his practical imitation. This is a danger he must avoid, by study, by reflection, by poetry. If the "ideal" be in himself, he will find it in nature. If he sees in mountains, woods, and fields but materials for the use of man, and what the toil of man has made them, he may be a good workman in his imitation, but he will be a poor designer. The "ideal" grows out of a reverence, which he can scarcely feel. If the earth be nothing to him but for the plough, and the rivers for the mill, and its only people are the present people--doomed to toil, bearing about them parochial cares, and tasteless necessity, ignorant and regardless of the history of the earth they tread--he may boast of his love of nature; but his love is, in fact, the love of his technical skill, of his imitation. He thinks more of the how to represent, than what the scene may represent. The ideal ranges beyond the present aspect, and he who has a belief in it will reverence this ancient earth, the cradle wherein he and all living things took form from their creation. He will see visions of the past, and dream dreams of its future aspects and destiny; and will learn, in his meditations, to recall the people of old, and imprint its soil with imaginary footsteps. The painter is no true artist if he feel not the greatness of nature's immortality--at least, that as it rose from the creation so will it be, throwing forth its bounty, and beaming with the same vigorous beauty, till it shall pass away as a scroll. The painter-poet must be of a loving superstition, must acknowledge powers above his own--beings greater between him and the heavens. They may be invisible as angels, yet leave some understanding of their presence. They will voice the woods and the winds, and tell everywhere that all of nature is life. Are there not noble elements here for the landscape painter, and can neither history nor fable supply him with better figures than toil-worn labourers, drovers taking their cattle or sheep to the butchers, and paupers walking the poorhouse? I like not the "naturalist's" poverty of thought. If the art be not twin sister with poetry, her charm is only for the eye. Nothing great ever came from such hands.

"And deeper faith--intenser fire--
Fed sculptor's chisel--poet's pen;
What nobler theme might art require
Than gods on earth, and godlike men?
Yea, gods then watched with loving care
(Or such, at least, the fond belief)
E'en lifeless things of earth and air--
The cloud, the stream, the stem, the leaf:
Iris, a goddess! tinged the flower
With more than merely rainbow hues;
Great Jove himself sent down the shower,
Or freshen'd earth with healing dews!"

KENYON'S _Poems_.

How do such thoughts enhance all nature's beauties! The sketcher's real work is to see, to feel them all, and to fit them to the mind's poetic thoughts.

I seem to be forgetting that the reader and myself are all this while at the water's edge, and under deep-brow'd rocks; that sunshine has left us, and it is time to climb to the path that leads toward Lynmouth. For such an hour we are on the wrong side of the stream. Now the woods are mapped, and edged only by the sun hastening downward. Yet after awhile we shall not regret that we are in this path. Escaping the closer and shaded wood, we shall reach a more open space, and see the flood of evening's sunlight pouring in. Here it is; my sketch was poor indeed, for there was neither time nor means to do anything like justice to the scene. Here is a narrow, winding rocky path, a little above the river, from whose superimpending bank, trees that now look large shoot across the landscape, and a bold stem or two rises up boldly to meet them; the river stretches to some distance, wooded on this side to the edge, and wooded hills in front, and in perspective. The distant hills are most lovely in colour, pearly and warm gray; the river, the blazing sky reflected, yet showing how rich the tone, by a few yellowish-gray lighter streaks that mark its movement. The fragments of rock in the river are of a pinkish-gray, and, though not dark, yet strongly marked against the golden stream,--the whole scene great in its simplicity of effect and design. In broad day the scene would be passed unnoticed; it would want that simplicity which is its charm, and be a scene of detail; but now the lines are the simplest, and, happily, where the river really turns, its view is lost in the reflection of the shaded wood. And here, in this smallest portion of the picture, the hills on each side seem to meet and fold, giving the variety in the smallest space, upon which I have made remarks in this paper. This beautiful picture of nature I visited several evenings, and it little varied. But the charm lasts not long--the sun sets, or is behind the wooded hill, before its actual setting, yet leaves its tinge of lake blushing above the gold in the sky--the life of the scene has faded, and it is still and solemn. I cannot better describe the impression it left, than by a quotation from an old play, in which the lover sees his mistress, who had swooned, or was in a deathlike sleep:--

"ANTONIO.

At the first sight I did believe her dead--
Yet in that state so awful she appeared,
That I approached her with as much respect
As if the soul had animated still
That body which, though dead, scarce mortal seemed.
But as the sun from our horizon gone,
His beams do leave a tincture on the skies,
Which shows it was not long since he withdrew;
So in her lovely face there still appeared
Some scattered streaks of those vermilion beams
Which used t'irradiate that bright firmament.
Thus did I find that distressed miracle,
Able to wound a heart, as if alive--
Incapable to cure it, as if dead."

Thus is there sympathy between our hearts and nature--a sympathy, the secret of taste, which, above all, the sketcher should cultivate as the source of his pleasure, and (may it not be added?) of his improvement.

I will not proceed further with description of scenes; Lynmouth will be long remembered. I scarcely know a better spot for the study of close scenery. On reviewing my former impressions with the present, I should not say that Lynmouth has lost, but I have certainly gained some knowledge, and, I think, improved my sympathies with nature; and if I have not enjoyed so enthusiastically as I did sixteen years ago, I have enlarged my sight and extended my power. I am practically a better sketcher. The hand and the eye, work together; the improvement of one advances the other.

I know no better method of sketching than the mixture of transparent and semi-opaque colouring. It best represents the variety and the power of nature; and as it more nearly resembles in its working the practice of oil-painting, so is it the more likely to improve the painter. I have remarked that, even in depth of colour, the semi-opaque is very much more powerful than the transparent, however rich; for the one has, besides its more varied colour, the solidity of nature; whereas the most transparent has ever an unsubstantial look--you see through to the paper or the canvass. Semi-opaque, (or degrees of opacity, till it borders on the transparent,) as it hides the material, and throws into every part the charm of atmosphere, so it will ever bestow upon the sketch the gift of truth.

I did not begin this paper on Lynmouth Revisited with any intention of entering upon the technicalities of art; so I will refrain from any further remarks tending that way, which leads to far too wide a field for present discussion.

WHAT HAS REVOLUTIONISING GERMANY ATTAINED?

It is now rather more than a year since we asked, "What would revolutionising Germany be at?" A full year has passed over the dreamy, theorising, restless, and excited head of Germany, then confused and staggering, like "a giant drunken with new wine," but loudly vaunting that its strong dose of revolution had strengthened and not fuddled it, and that it was about to work out of its troubled brains a wondrous system of German Unity, which was to bring it infinite and permanent happiness; and now we would once more ask, What is the result of the attempted application of German revolutionising theory to practice? In fact, what has revolutionising Germany attained? Our first question we asked without being able to resolve an answer. The problem was stated: an attempt was made to arrive at something like a solution out of the distracting hurly-burly of supposed purposes and so-called intentions; but, after every effort to make out our "sum" in any reasonable manner, we were obliged to give it up, as a task impossible to any political mathematician, not of German mould; to declare any definite solution for the present hopeless,--and to end our amount of calculation by arriving only in a _cercle vicieux_ at the statement of the problem with which we started, and asking, as despairingly as a tired schoolboy with a seemingly impracticable equation before him, "What, indeed, _would_ revolutionising Germany be at?" Are we any further advanced now? We will not attempt the difficult sum again, or we might find ourselves obliged to avow ourselves as much deficient in the study of German political mathematics as before. But we may at least try to undertake a mere sum of addition, endeavour to cast up the amount of figures the Germans themselves have laid before us, and make out, as well as we can, what, after a year's hard--and how hard!--work, revolutionising Germany has attained. The species of sum-total, as far as the addition can yet go, to which we may arrive, may be still a very confused and unsatisfactory one; but in asking, "What has revolutionising Germany attained?" we will not take it entirely to our own charge, if the answer attempted to be made is thus confused and unsatisfactory. German political sums are all too puzzling for English heads.

Last year Germany was, as yet, very young in its revolutionary career. It galloped over the country like an unbroken colt, or rather like a mad bull, "running a-muck" it scarcely knew, and seemingly little cared, at what, provided that it trampled beneath its hoofs all that stood, and, with proper culture, might have flourished and borne fruit. It tried to imitate the frantic caperings of its fellow-revolutioniser in the next paddock, just over the Rhine; but it imitated this model in so clumsy a fashion, that it might have been very aptly compared to the ass in the fable, had not the demonstrations it sought to make been destructive kicks, and not mistaken caresses; and the model it sought to copy resembled the bloodhound rather than the lap-dog. It kicked out to the right and to the left, and, with its kicks, inflicted several stunning blows, from which the other states, upon whose heads the kicks fell, found some difficulty in recovering. Even the maddest of the drivers who spurred it on, however, found it necessary to present some goal, at which it was eventually to arrive in its mad career--that goal was called "German Unity" in one great powerful united Germany. Where this visionary goal existed, or how it was to be attained--by what path, or in what direction, none seemed to know; but the cry was, "On, on, on!" That it should miss this goal, thus visionary and indistinct, and plunge on past it, through the darkness of anarchy, to another winning-post, just as indistinct and visionary, called "a universal republic," was a matter of little consideration, or was even one of hope, to those of its principal drivers who whipped, and spurred, and hooted it, with deafening and distracting cries, like the Roman drivers of the unridden horses in the Corso races. A breaker-in was attempted, however, to be placed, and not, at first, precisely by those who most wished to check it, upon the back of the tearing beast, in order to moderate its paces, and canter it as gently as might be, onwards to the denied goal--which still, however, lay only in a most misty distance, to which none seemed to know the road. In this rider, called a central Frankfort parliament, men began to place their hopes, they trusted confidently that it might ride the animal to its destination, although they knew not where that lay. The revolution, then, was decked out with colours of red, and black, and gold--the colours of an old German empire, and of a new derived German unity--and the rider mounted into the saddle. How the rider endeavoured to show the animal's paces--how he strove to guide him forwards--how sometimes he seemed, indeed, to be proceeding along a path, uncertain, it is true, but apparently leading _somewhere_--how often he stumbled--how often, in his inexperience, he slipped in his saddle--how, at last, he slipped and fell from it altogether, in vain endeavouring, maimed, mutilated, bruised, and half stunned, to spring into the saddle again, are matters of newspaper history that need no detail here. It suffices to say, that the rider was unhorsed--that the animal gave a last desperate plunge, kicking and wounding the only one of the states around that strove to the last to caress and soothe it with gentle treatment--that it now stands perspiring, shaking, quivering in every limb--snorting in vain struggle, and champing the bit of the bridle which Prussian military force has thrown upon it. To what, then, has Germany attained in its revolutionising career? It has, at all events, not reached that imaginary goal to which men strove to ride it without direction-post. The goal is as far off as ever, perhaps farther off than before, as may be shown. It remains just as vague, and visionary, and misty. Not one step seems to have been taken towards it. Has no farther step whatever been taken, then, after all this mad rushing hither and thither? And if any, how, and whither? We shall endeavour to see, as far as we are able. Our readers must, then, judge whether it be forwards or backwards, or whether, in fact, it be any step at all.

The Frankfort parliament has fallen from its seat. Last year, when we gave a sketch of its sittings in that Lutheran church of St Paul in Frankfort--now bearing a stamp which its sober-minded architect probably never dreamt of, as a historical building--it was young, still in hopes; and amidst its inexperience, its vapouring declamation upon impracticable theories, its noise and confusion, its clamorous radicalism, and its internal treachery, that sought every pretext for exciting to anarchy and insurrection, it put forward men of note and ability--who, however lacking in practical experience, gave evidence of noble hearts, if not sound heads, and good intentions, if not governmental power. It contained, amidst much bad, many elements of good; and, if it has no other advantageous result, it has proved a school of experience, tact, and reason--as far at least as Germans, in the present condition of their political education, have been able to profit by its lessons and its teaching. _De mortuis nil nisi bonum_ as far as possible! It is defunct. What its own inability, want of judgment, internal disorganisation, and "vaulting ambition, that o'erleaps its sell," commenced, was completed by the refusal of the principal northern German states to acknowledge its ill-digested constitution. It sickened upon over-feeding of conceit, excess of supposed authority, and a naturally weak constitution, combined with organic defects, weakened still more by a perpetual and distracting fever; it was killed outright by what the liberals, as well as the democrats, of Germany choose to call the ill faith and treachery of Prussia in declining to accept its offers, and ultimately refusing to listen to its dictates. Its dying convulsions were frightful. It fled to Stutgardt, in the hopes that change of air might save it in its last extremity: and there it breathed its last. Its very home is a wreck; its furniture has been sold to pay the expenses of its burial; its lucubrations, and its mighty acts, in which it once fondly hoped to have swayed all Germany, if not the world, have been dispersed, in their recorded form, among cheesemongers and greengrocers as waste-paper, at so much the pound. Its house--the silent, sad, and denuded church of St Paul--looks now like its only mausoleum; and on its walls remains alive the allegorical picture of that great German empire, which it deemed it had but to will to found--the grim, dark, shaded face of which grows grimmer and darker still, day by day; whilst the sun that rises behind it, without illuminating its form, daily receives its thicker and thicker cloud of dust to obscure its painted rays. Of a sooth, the allegory is complete. It is dead, and resolved to ashes. Its better and brighter elements have given up their last breath, as, in their meeting at Gotha, they made a last effort to discuss the acceptance of the constitution which Prussia offered in lieu of their own, and strove, although only still wearing a most ghostly semblance of life, to propose to themselves the best ultimate means of securing that desideratum, which they still seem to consider as the panacea for all evils--the great and powerful "United Germany" of their theoretical dreams. This last breath was not without its noble aspirations. Its less pure, more self-seeking, and darker elements have striven, by wild and no longer (even in appearance) legal means, to galvanise themselves into a false existence; their last struggles were such hideous and distracted contortions as are usually produced by such galvanic applications; and now the German papers daily record the arrest of various members of the so-called "Rump Parliament," (so nicknamed by the application or rather misapplication of an English historical term,) which received its final extinguishing blow at Stutgardt, mixed up, in these days of imprisonment, as the consequence of mistaken liberty, along with insurgents and rebels engaged in the late disastrous scenes acted in the duchy of Baden. Such was to be _their_ fate. But, be it for good or for evil, the Frankfort parliament has died, as was prophesied, and not without convulsions: its purposes have proved null; its hopes have been dispersed to the winds; its very traces have been swept away; its memory is all but a bitter mockery. Thus far, then, we may indeed shake our heads despairingly as we ask--"What has revolutionising Germany as yet attained?"

What has it attained? Let as go on. In the first place, what remains of the gigantic cloud, which men attempted to catch, embody, and model into a palpable form, although with hands inexperienced, and with as little of the creative and vivifying health really within its power, as Frankenstein, when he sought to remould the crumbling elements he possessed into a human form, and produced a monster. What remains of the great united German empire of men's dreams? Nothing but a phantom of a central power, grasping the powerless sceptre of a ghostly empire; surrounded by ministers whose dictates men despise and disregard, in veritable exercise of their functions, as ghostly as itself. The position of the Imperial administration has become a byword and a scoff; and it is lamentable to see a prince, whose good intentions never have been doubted, and whose popular sympathies have been so often shown, standing thus, in a situation which borders upon the ridiculous--an almost disregarded and now useless puppet--a _quasi_ emperor without even the shadow of an empire; and yet condemned to play at empire-administrating--as children play at kings and queens--none heeding their innocent and bootless game. How far the edicts of the defunct Frankfort parliament, and the decrees of the government of the Imperial Vicarage--paralysed in all real strength, if not utterly defunct now--are held as a public mockery, is very pithily evidenced to the least open eyes of any traveller to the baths of Germany, at most of which the gambling tables--supposed to be suppressed, and declared to be illegal by the shade of the "central power,"--openly pursue their manoeuvres, and earn their gains as of yore; or, at most, fix upon the doors of their hells a ticket, written "_salons reservés_," to give them the faint appearance of private establishments, and thus adopt a very flimsy pretext, and effect a most barefaced evasion of a hitherto useless law. _Croupiers_ and gamblers sit squatting, most disrespectfully, at almost every bathing-place, upon the Imperial edict--as the toads and frogs squatted upon King Log--treating him as a jest, and covering him with their filthy slime. By what authority--of the same Imperial Vicar also--the whole country around Frankfort is overrun with Prussian soldiers, it would be difficult to show. That the so-called free city itself should be occupied by a joint garrison of Prussian and Austrian troops for its protection, may be looked upon as a legal measure, adopted and authorised by a new parliament, and a central power, such as it is, as by the old Diet. But when we see in every village round about--in every house, in almost every hovel--those hosts of Prussian spiked helmets gleaming in the sun--those Prussian bayonets planted before every door--those Prussian uniforms, studding, with variegated colour, every green rural scene; when we never cease to hear upon the breeze--wherever we may wander in the country--the clang of Prussian military bands, and the tramp of Prussian infantry; when we find the faces of Prussian military at every window, and observe Prussian soldiers mixing in every action of the common everyday life of the country; and then turn to ask how it comes that Prussian soldiers swarm throughout a part of the land in no way belonging to Prussia, we are able to receive no more reasonable answer than that "they are there because they are there"--an explanation which has a more significant meaning in it than the apparently senseless words seem to express. "They are there because they are there"--that is to say, without any recognised authority from any central German power. "They are there because they are there,"--because Prussia has sent them. Where, then, is the central power?--what is its force? what its authority? what its sense? If, then, all that still remains, in living form, of that great united Germany of men's dreams, is but the "shadow of a shade," in power--a power disregarded--even more, despised and ridiculed--what has revolutionising Germany attained in its chase after the phantom of its hopes?

If in this respect it has _attained_ nothing which it can show, after more than a year's revolution, for the avowed or pretended purpose of obtaining some result to this very end, it cannot be said, however, that nothing remains to Germany of its dream of unity. Spite of sad experience--spite of the uselessness of every effort--spite of sacrifices made and sorrows suffered--Germany still pursues its phantom with as much ardour as before. Like the prince in the fairy-tale, who, panting, breathless, half-dead with exhaustion and fatigue, still hunted without rest for the imaginary original of the fair portrait placed in his hands--untired and unyielding, after the repeated disappointments of lifting veil after veil from forms which he thought might be that of the beloved one--still driven on by an incurable longing--still yearning despairingly, and with false hope,--so does Germany, after lifting veil after veil only to find delusive spectres beneath, still yearn and long for the object of its adoration. It is impossible to travel, even partially, through the country, without discovering, from every conversation with all classes, that the intense craving for this object--this great blessing of a grand and powerful United Germany--is as strong as ever--far stronger than ever! For what was not very long ago only the watchword of the fancied liberal student, in his play of would-be conspirator--what was but the pretext of really conspiring and subversive democrats--what grew only by degrees into the cry of the people, who clamoured, not knowing what they clamoured for--has taken evidently the strongest root throughout the whole mass of German nationality, and _grows_--grows in despite of the rottenness of the branches it has as yet sent forth--grows in despite of the lopping, breaking, and burning of its first offshoots--grows in despite of the atmosphere of contention, rather than of union, that becomes thicker and more deleterious to its growth, around it, and of the blight it daily receives from the seemingly undispersable mildew of hatred, suspicion, and total want of sympathy between Southern and Northern Germany, which formerly arose only from uncongeniality of temperament, mixed up more or less with difference of religious creed, but now is generated by a thousand causes. This intense craving for the possession of the phantom--increasing, it would seem, in proportion as the phantom flies farther and farther from the grasp--is no longer expressed by the student, the democrat, and the man of the people: it pervades all classes from below to above; it is in the mouth of the man of caution and of sense, as in that of the wild and poetico-political enthusiast; it becomes more and more universal, and it amounts to a mania. Ask of whom you will, "Whither tends German hope?" and the answer will still and ever be the same--"German unity." But ask no more; for if you inquire, as last year, into the "how," the "when," the "where," the answer will in most cases be given in the same strain of incomprehensible and still more impracticable rhapsody--visionary, poetical, noble sometimes, but purposeless as before; or men will shrug their shoulders, shake their heads, and sigh, but still dream on the dream of German unity--still clamour for it loudly. And well may they shake their heads and groan, if such be the end and aim of all German aspirations! for where, indeed, is the pith that leads to it? That which Germany is itself following up, leads (for the present at least) visibly from it, and not towards it. Prussia has promulgated its constitution,--and we may ask, _par parenthèse_, whether _that_ is to be put forward as the great end which revolutionising Germany has attained, after more than a year's revolution? Prussia has called upon all Germany to join with it, hand in hand, in this constitution, granted and given, but not accepted, at the hands of a Frankfort parliament. In answer to its call, it has found the cleft between Northern and Southern Germany--the cleft, of envy and jealousy, suspicion and mistrust--growing wider and wider to oppose it. It has attempted to form a partial union of Northern Germany--between the more northern states of Prussia, Hanover, and Saxony; but even in this union has been disunion--reticence, and suspicion, and doubt, and indecision, among the proposed allies themselves; while Austria, Bavaria, and even Wurtemberg, have held aloof to sulk and scoff, and have seemed to bide that time when Austria should be less shackled, and could better oppose the supremacy of Northern German influence. Coalitions even now are talked of, to which, if Prussia be not a stranger, it is to be admitted only as a humbled ally. With these feelings, which exist not only between powers, but in the people, the cry of United Germany is but a jest--the longing a green-sickness. Certainly revolutionising Germany has not thus far attained any step in its progress towards the great desideratum of its nationality. The only semblance of progress has been, in the advances of Prussia towards supremacy, in the cession of the principality of Hohenzollern Sigmaringen to its territory, (an example which other small German principalities may follow,) in its present occupation of the free town of Hamburg, in its military occupation of the duchy of Baden, of which more further on. But if these be steps towards a united Germany, tell it to Southern Germany, and hear what it will say!