Chapter CXIX: Battle of Waterloo. (415)

There was a sound of revelry by night,
And Belgium's capital had gathered then
Her Beauty and her Chivalry, and bright
The lamps shone o'er fair women and brave men.
A thousand hearts beat happily; and when
Music arose with its voluptuous swell,
Soft eyes looked love to eyes which spake again,
And all went merry as a marriage bell;
But hush! hark!--a deep sound strikes like a rising knell!

Did ye not hear it?--No; 't was but the wind,
Or the car rattling o'er the stony street;
On with the dance! let joy be unconfined;
No sleep till morn, when Youth and Pleasure meet
To chase the glowing Hours with flying feet--
But, hark!--that heavy sound breaks in once mere,
As if the clouds its echo would repeat,
And nearer, clearer, deadlier than before!
Arm! arm! it is--it is the cannon's opening roar!

Ah! then and there was hurrying to and fro,
And gathering tears, and tremblings of distress,
And cheeks all pale, which, but an hour ago
Blushed at the praise of their own loveliness;
And there were sudden partings, such as press
The life from out young hearts, and choking sighs
Which ne'er might be repeated: who could guess
If ever more should meet those mutual eyes,
Since upon night so sweet such awful morn could rise.

And there was mounting in hot haste: the steed,
The mustering squadron, and the clattering car
Went pouring forward with impetuous speed,
And swiftly forming in the ranks of war;
And the deep thunder, peal on peal afar;
And near, the beat of the alarming drum
Roused up the soldier ere the morning star;
While thronged the citizens with terror dumb,
Or whispering with white lips--"The foe! They come!
They come!"

And Ardennes waves above them her green leaves,
Dewy with nature's tear-drops, as they pass,
Grieving, if aught inanimate e'er grieves,
Over the unreturning brave!--alas!
Ere evening to be trodden like the grass,
Which, now, beneath them, but above, shall grow,
In its next verdure, when this fiery mass
Of living valor, rolling on the foe,
And burning with high hope, shall molder, cold and low

Last noon beheld them full of lusty life,
Last eve in beauty's circle proudly gay,
The midnight brought the signal sound of strife,
The morn, the marshaling in arms,--the day,
Battle's magnificently stern array!
The thunderclouds close o'er it, which when rent,
The earth is covered thick with other clay,
Which her own clay shall cover, heaped and pent,
Rider and horse,--friend, foe,--in one red burial blent.
--Byron.

NOTES.--The Battle of Waterloo was fought on June 18th, 1815, between the French army on one side, commanded by Napoleon Bonaparte, and the English army and allies on the other side, commanded by the Duke of Wellington. At the commencement of the battle, some of the officers were at a ball at Brussels, a short distance from Waterloo, and being notified of the approaching contest by the cannonade, left the ballroom for the field of battle.

The wood of Soignies lay between the field of Waterloo and Brussels. It is supposed to be a remnant of the forest of Ardennes.

CXX. "WITH BRAINS, SIR." (417)

John Brown, 1810-1882, was born in Lanarkshire, Scotland, and graduated at the University of Edinburgh. His father was John Brown, an eminent clergyman and the author of several books. Dr. Brown's literary reputation rests largely upon a series of papers contributed to the "North British Review." "Rab and his Friends," a collection of papers published in book form, is the most widely known of all his writings. ###

"Pray, Mr. Opie, may I ask you what you mix your colors with?" said a brisk dilettante student to the great painter. "With brains, sir," was the gruff reply--and the right one. It did not give much of information; it did not expound the principles and rules of the art; but, if the inquirer had the commodity referred to, it would awaken him; it would set him agoing, athinking, and a-painting to good purpose. If he had not the wherewithal, as was likely enough, the less he had to do with colors and their mixture the better.

Many other artists, when asked such a question, would have either set about detailing the mechanical composition of such and such colors, in such and such proportions, rubbed up so and so; or perhaps they would (and so much the better, but not the best) have shown him how they laid them on; but even this would leave him at the critical point. Opie preferred going to the quick and the heart of the matter: "With brains, sir."

Sir Joshua Reynolds was taken by a friend to see a picture. He was anxious to admire it, and he looked it over with a keen and careful but favorable eye. "Capital composition; correct drawing; the color, tone, chiaroscuro excellent; but--but--it wants--hang it, it wants--that!" snapping his fingers; and, wanting "that," though it had everything else, it was worth nothing.

Again, Etty was appointed teacher of the students of the Royal Academy, having been preceded by a clever, talkative, scientific expounder of aesthetics, who delighted to tell the young men how everything was done, how to copy this, and how to express that. A student came up to the new master, "How should I do this, sir?" "Suppose you try." Another, "What does this mean, Mr. Etty?" "Suppose you look." "But I have looked." "Suppose you look again."

And they did try, and they did look, and looked again; and they saw and achieved what they never could have done had the how or the what (supposing this possible, which it is not, in full and highest meaning) been told them, or done for them; in the one case, sight and action were immediate, exact, intense, and secure; in the other, mediate, feeble, and lost as soon as gained.

NOTES.--Opie, John (b. 1761, d. 1807), was born in Wales, and was known as the "Cornish wonder." He became celebrated as a portrait painter, but afterwards devoted himself to historical subjects. He was professor of painting at the Royal Academy.

Reynolds. See note on page 379.

Etty, William (b. 1787, d. 1849), is considered one of the principal artists of the modern English school. His pictures are mainly historical.

The Royal Academy of Arts, in London, was founded in 1768. It is under the direction of forty artists of the first rank in their several professions, who have the title of "Royal Academicians." The admission to the Academy is free to all properly qualified students.