Chapter IX: The Vicar’s Return

The next morning Mr. Robarts took leave of all his grand friends with a heavy heart. He had lain awake half the night thinking of what he had done and trying to reconcile himself to his position. He had not well left Mr. Sowerby’s room before he felt certain that at the end of three months he would again be troubled about that 400_l._ As he went along the passage all the man’s known antecedents crowded upon him much quicker than he could remember them when seated in that armchair with the bill stamp before him, and the pen and ink ready to his hand. He remembered what Lord Lufton had told him—how he had complained of having been left in the lurch; he thought of all the stories current through the entire county as to the impossibility of getting money from Chaldicotes; he brought to mind the known character of the man, and then he knew that he must prepare himself to make good a portion at least of that heavy payment.

Why had he come to this horrid place? Had he not everything at home at Framley which the heart of man could desire? No; the heart of man can desire deaneries—the heart, that is, of the man vicar; and the heart of the man dean can desire bishoprics; and before the eyes of the man bishop does there not loom the transcendental glory of Lambeth? He had owned to himself that he was ambitious; but he had to own to himself now also that he had hitherto taken but a sorry path towards the object of his ambition.

On the next morning at breakfast-time, before his horse and gig arrived for him, no one was so bright as his friend Sowerby. “So you are off, are you?” said he.

“Yes, I shall go this morning.”

“Say everything that’s kind from me to Lufton. I may possibly see him out hunting; otherwise we shan’t meet till the spring. As to my going to Framley, that’s out of the question. Her ladyship would look for my tail, and swear that she smelt brimstone. By-bye, old fellow!”

The German student when he first made his bargain with the devil felt an indescribable attraction to his new friend; and such was the case now with Robarts. He shook Sowerby’s hand very warmly, said that he hoped he should meet him soon somewhere, and professed himself specially anxious to hear how that affair with the lady came off. As he had made his bargain—as he had undertaken to pay nearly half-a-year’s income for his dear friend, ought he not to have as much value as possible for his money? If the dear friendship of this flash member of Parliament did not represent that value, what else did do so? But then he felt, or fancied that he felt, that Mr. Sowerby did not care for him so much this morning as he had done on the previous evening. “By-bye,” said Mr. Sowerby, but he spoke no word as to such future meetings, nor did he even promise to write. Mr. Sowerby probably had many things on his mind; and it might be that it behoved him, having finished one piece of business, immediately to look to another.

The sum for which Robarts had made himself responsible—which he so much feared that he would be called upon to pay, was very nearly half-a-year’s income; and as yet he had not put by one shilling since he had been married. When he found himself settled in his parsonage, he found also that all the world regarded him as a rich man. He had taken the dictum of all the world as true, and had set himself to work to live comfortably. He had no absolute need of a curate; but he could afford the 70_l._—as Lady Lufton had said rather injudiciously; and by keeping Jones in the parish he would be acting charitably to a brother clergyman, and would also place himself in a more independent position. Lady Lufton had wished to see her pet clergyman well-to-do and comfortable; but now, as matters had turned out, she much regretted this affair of the curate. Mr. Jones, she said to herself, more than once, must be made to depart from Framley.

He had given his wife a pony-carriage, and for himself he had a saddle-horse, and a second horse for his gig. A man in his position, well-to-do as he was, required as much as that. He had a footman also, and a gardener, and a groom. The two latter were absolutely necessary, but about the former there had been a question. His wife had been decidedly hostile to the footman; but, in all such matters as that, to doubt is to be lost. When the footman had been discussed for a week it became quite clear to the master that he also was a necessary.

As he drove home that morning he pronounced to himself the doom of that footman, and the doom also of that saddle-horse. They at any rate should go. And then he would spend no more money in trips to Scotland; and above all, he would keep out of the bedrooms of impoverished members of parliament at the witching hour of midnight. Such resolves did he make to himself as he drove home; and bethought himself wearily how that 400l. might be made to be forthcoming. As to any assistance in the matter from Sowerby,—of that he gave himself no promise.

But he almost felt himself happy again as his wife came out into the porch to meet him, with a silk shawl over her head, and pretending to shiver as she watched him descending from his gig.

“My dear old man,” she said, as she led him into the warm drawing-room with all his wrappings still about him, “you must be starved.” But Mark during the whole drive had been thinking too much of that transaction in Mr. Sowerby’s bedroom to remember that the air was cold. Now he had his arm round his own dear Fanny’s waist; but was he to tell her of that transaction? At any rate he would not do it now, while his two boys were in his arms, rubbing the moisture from his whiskers with their kisses. After all, what is there equal to that coming home?

“And so Lufton is here. I say, Frank, gently old boy,”—Frank was his eldest son—“you’ll have baby into the fender.”

“Let me take baby; it’s impossible to hold the two of them, they are so strong,” said the proud mother. “Oh, yes, he came home early yesterday.”

“Have you seen him?”

“He was here yesterday, with her ladyship; and I lunched there to-day. The letter came, you know, in time to stop the Merediths. They don’t go till to-morrow, so you will meet them after all. Sir George is wild about it, but Lady Lufton would have her way. You never saw her in such a state as she is.”

“Good spirits, eh?”

“I should think so. All Lord Lufton’s horses are coming and he’s to be here till March.”

“Till March!”

“So her ladyship whispered to me. She could not conceal her triumph at his coming. He’s going to give up Leicestershire this year altogether. I wonder what has brought it all about?” Mark knew very well what had brought it about; he had been made acquainted, as the reader has also, with the price at which Lady Lufton had purchased her son’s visit. But no one had told Mrs. Robarts that the mother had made her son a present of five thousand pounds.

“She’s in a good humour about everything now,” continued Fanny; “so you need say nothing at all about Gatherum Castle.”

“But she was very angry when she first heard it; was she not?”

“Well, Mark, to tell the truth she was; and we had quite a scene there up in her own room up-stairs,—Justinia and I. She had heard something else that she did not like at the same time; and then—but you know her way. She blazed up quite hot.”

“And said all manner of horrid things about me.”

“About the duke she did. You know she never did like the duke; and for the matter of that, neither do I. I tell you that fairly, Master Mark!”

“The duke is not so bad as he’s painted.”

“Ah, that’s what you say about another great person. However, he won’t come here to trouble us, I suppose. And then I left her, not in the best temper in the world; for I blazed up too, you must know.”

“I am sure you did,” said Mark, pressing his arm round her waist.

“And then we were going to have a dreadful war, I thought; and I came home and wrote such a doleful letter to you. But what should happen when I had just closed it, but in came her ladyship—all alone, and——. But I can’t tell you what she did or said, only she behaved beautifully; just like herself too; so full of love and truth and honesty. There’s nobody like her, Mark; and she’s better than all the dukes that ever wore—whatever dukes do wear.”

“Horns and hoofs; that’s their usual apparel, according to you and Lady Lufton,” said he, remembering what Mr. Sowerby had said of himself.

“You may say what you like about me, Mark, but you shan’t abuse Lady Lufton. And if horns and hoofs mean wickedness and dissipation, I believe it’s not far wrong. But get off your big coat and make yourself comfortable.” And that was all the scolding that Mark Robarts got from his wife on the occasion of his great iniquity.

“I will certainly tell her about this bill transaction,” he said to himself; “but not to-day; not till after I have seen Lufton.”

That evening they dined at Framley Court, and there they met the young lord; they found also Lady Lufton still in high good humour. Lord Lufton himself was a fine bright-looking young man; not so tall as Mark Robarts, and with perhaps less intelligence marked on his face; but his features were finer, and there was in his countenance a thorough appearance of good humour and sweet temper. It was, indeed, a pleasant face to look upon, and dearly Lady Lufton loved to gaze at it.

“Well, Mark, so you have been among the Philistines?” that was his lordship’s first remark. Robarts laughed as he took his friend’s hands, and bethought himself how truly that was the case; that he was, in very truth, already “himself in bonds under Philistian yoke.” Alas, alas, it is very hard to break asunder the bonds of the latter-day Philistines. When a Samson does now and then pull a temple down about their ears, is he not sure to be engulfed in the ruin with them? There is no horseleech that sticks so fast as your latter-day Philistine.

“So you have caught Sir George, after all,” said Lady Lufton, and that was nearly all she did say in allusion to his absence. There was afterwards some conversation about the lecture, and from her ladyship’s remarks, it certainly was apparent that she did not like the people among whom the vicar had been lately staying; but she said no word that was personal to him himself, or that could be taken as a reproach. The little episode of Mrs. Proudie’s address in the lecture-room had already reached Framley, and it was only to be expected that Lady Lufton should enjoy the joke. She would affect to believe that the body of the lecture had been given by the bishop’s wife; and afterwards when Mark described her costume at that Sunday morning breakfast-table, Lady Lufton would assume that such had been the dress in which she had exercised her faculties in public.

“I would have given a five-pound note to have heard it,” said Sir George.

“So would not I,” said Lady Lufton. “When one hears of such things described so graphically as Mr. Robarts now tells it, one can hardly help laughing. But it would give me great pain to see the wife of one of our bishops place herself in such a situation. For he is a bishop after all.”

“Well, upon my word, my lady, I agree with Meredith,” said Lord Lufton.—“It must have been good fun. As it did happen, you know,—as the church was doomed to the disgrace, I should like to have heard it.”

“I know you would have been shocked, Ludovic.”

“I should have got over that in time, mother. It would have been like a bull fight I suppose, horrible to see no doubt, but extremely interesting—And Harold Smith, Mark; what did he do all the while?”

“It didn’t take so very long, you know,” said Robarts.

“And the poor bishop,” said Lady Meredith; “how did he look? I really do pity him.”

“Well, he was asleep, I think.”

“What, slept through it all?” said Sir George.

“It awakened him; and then he jumped up and said something.”

“What, out loud too?”

“Only one word or so.”

“What a disgraceful scene!” said Lady Lufton. “To those who remember the good old man who was in the diocese before him it is perfectly shocking. He confirmed you, Ludovic, and you ought to remember him. It was over at Barchester, and you went and lunched with him afterwards.”

“I do remember; and especially this, that I never ate such tarts in my life, before or since. The old man particularly called my attention to them, and seemed remarkably pleased that I concurred in his sentiments. There are no such tarts as those going in the palace now, I’ll be bound.”

“Mrs. Proudie will be very happy to do her best for you if you will go and try,” said Sir George.

“I beg that he will do no such thing,” said Lady Lufton, and that was the only severe word she said about any of Mark’s visitings.

As Sir George Meredith was there, Robarts could say nothing then to Lord Lufton about Mr. Sowerby and Mr. Sowerby’s money affairs; but he did make an appointment for a _tête-à-tête_ on the next morning.

“You must come down and see my nags, Mark; they came to-day. The Merediths will be off at twelve, and then we can have an hour together.” Mark said he would, and then went home with his wife under his arm.

“Well, now, is not she kind?” said Fanny, as soon as they were out on the gravel together.

“She is kind; kinder than I can tell you just at present. But did you ever know anything so bitter as she is to the poor bishop? And really the bishop is not so bad.”

“Yes; I know something much more bitter; and that is what she thinks of the bishop’s wife. And you know, Mark, it was so unladylike, her getting up in that way. What must the people of Barchester think of her?”

“As far as I could see the people of Barchester liked it.”

“Nonsense, Mark; they could not. But never mind that now. I want you to own that she is good.” And then Mrs. Robarts went on with another long eulogy on the dowager. Since that affair of the pardon-begging at the parsonage Mrs. Robarts hardly knew how to think well enough of her friend. And the evening had been so pleasant after the dreadful storm and threatenings of hurricanes; her husband had been so well received after his lapse of judgment; the wounds that had looked so sore had been so thoroughly healed, and everything was so pleasant. How all of this would have been changed had she had known of that little bill!

At twelve the next morning the lord and the vicar were walking through the Framley stables together. Quite a commotion had been made there, for the larger portion of these buildings had of late years seldom been used. But now all was crowding and activity. Seven or eight very precious animals had followed Lord Lufton from Leicestershire, and all of them required dimensions that were thought to be rather excessive by the Framley old-fashioned groom. My lord, however, had a head man of his own who took the matter quite into his own hands.

Mark, priest as he was, was quite worldly enough to be fond of a good horse; and for some little time allowed Lord Lufton to descant on the merit of this four-year-old filly, and that magnificent Rattlebones colt, out of a Mousetrap mare; but he had other things that lay heavy on his mind, and after bestowing half an hour on the stud, he contrived to get his friend away to the shrubbery walks.

“So you have settled with Sowerby,” Robarts began by saying.

“Settled with him; yes, but do you know the price?”

“I believe that you have paid five thousand pounds.”

“Yes, and about three before; and that in a matter in which I did not really owe one shilling. Whatever I do in future, I’ll keep out of Sowerby’s grip.”

“But you don’t think he has been unfair to you.”

“Mark, to tell you the truth I have banished the affair from my mind, and don’t wish to take it up again. My mother has paid the money to save the property, and of course I must pay her back. But I think I may promise that I will not have any more money dealings with Sowerby. I will not say that he is dishonest, but at any rate he is sharp.”

“Well, Lufton; what will you say when I tell you that I have put my name to a bill for him, for four hundred pounds.”

“Say; why I should say——; but you’re joking; a man in your position would never do such a thing.”

“But I have done it.”

Lord Lufton gave a long low whistle.

“He asked me the last night that I was there, making a great favour of it, and declaring that no bill of his had ever yet been dishonoured.”

Lord Lufton whistled again. “No bill of his dishonoured! Why the pocket-books of the Jews are stuffed full of his dishonoured papers! And you have really given him your name for four hundred pounds?”

“I have certainly.”

“At what date?”

“Three months.”

“And have you thought where you are to get the money?”

“I know very well that I can’t get it; not at least by that time. The bankers must renew it for me, and I must pay it by degrees. That is, if Sowerby really does not take it up.”

“It is just as likely that he will take up the national debt.”

Robarts then told him about the projected marriage with Miss Dunstable, giving it as his opinion that the lady would probably accept the gentleman.

“Not at all improbable,” said his lordship, “for Sowerby is an agreeable fellow; and if it be so, he will have all that he wants for life. But his creditors will gain nothing. The duke, who has his title-deeds, will doubtless get his money, and the estate will in fact belong to the wife. But the small fry, such as you, will not get a shilling.”

Poor Mark! He had had an inkling of this before; but it had hardly presented itself to him in such certain terms. It was, then, a positive fact, that in punishment for his weakness in having signed that bill he would have to pay, not only four hundred pounds, but four hundred pounds with interest, and expenses of renewal, and commission, and bill stamps. Yes; he had certainly got among the Philistines during that visit of his to the duke. It began to appear to him pretty clearly that it would have been better for him to have relinquished altogether the glories of Chaldicotes and Gatherum Castle.

And now, how was he to tell his wife?

Sir Joshua and Holbein.

Long ago discarded from our National Gallery, with the contempt logically due to national or English pictures,—lost to sight and memory for many a year in the Ogygian seclusions of Marlborough House—there have reappeared at last, in more honourable exile at Kensington, two great pictures by Sir Joshua Reynolds. Two, with others; but these alone worth many an entanglement among the cross-roads of the West, to see for half-an-hour by spring sunshine:—the _Holy Family_, and the _Graces_, side by side now in the principal room. Great, as ever was work wrought by man. In placid strength, and subtlest science, unsurpassed;—in sweet felicity, incomparable.

If you truly want to know what good work of painter’s hand is, study those two pictures from side to side, and miss no inch of them (you will hardly, eventually, be inclined to miss one): in some respects there is no execution like it; none so open in the magic. For the work of other great men is hidden in its wonderfulness—you cannot see how it was done. But in Sir Joshua’s there is no mystery: it is all amazement. No question but that the touch was so laid; only that it _could_ have been so laid, is a marvel for ever. So also there is no painting so majestic in sweetness. He is lily-sceptred: his power blossoms, but burdens not. All other men of equal dignity paint more slowly; all others of equal force paint less lightly. Tintoret lays his line like a king marking the boundaries of conquered lands; but Sir Joshua leaves it as a summer wind its trace on a lake; he could have painted on a silken veil, where it fell free, and not bent it.

Such at least is his touch when it is life that he paints: for things lifeless he has a severer hand. If you examine that picture of the _Graces_ you will find it reverses all the ordinary ideas of expedient treatment. By other men flesh is firmly painted, but accessories lightly. Sir Joshua paints accessories firmly,[20] flesh lightly;—nay, flesh not at all, but spirit. The wreath of flowers he feels to be material; and gleam by gleam strikes fearlessly the silver and violet leaves out of the darkness. But the three maidens are less substantial than rose petals. No flushed nor frosted tissue that ever faded in night wind is so tender as they; no hue may reach, no line measure, what is in them so gracious and so fair. Let the hand move softly—itself as a spirit; for this is Life, of which it touches the imagery.

“And yet——”

Yes: you do well to pause. There is a “yet” to be thought of. I did not bring you to these pictures to see wonderful work merely, or womanly beauty merely. I brought you chiefly to look at that Madonna, believing that you might remember other Madonnas, unlike her; and might think it desirable to consider wherein the difference lay:—other Madonnas not by Sir Joshua, who painted Madonnas but seldom. Who perhaps, if truth must be told, painted them never: for surely this dearest pet of an English girl, with the little curl of lovely hair under her ear, is _not_ one.

Why did not Sir Joshua—or could not—or would not Sir Joshua—paint Madonnas? neither he, nor his great rival-friend Gainsborough? Both of them painters of women, such as since Giorgione and Correggio had not been; both painters of men, such as had not been since Titian. How is it that these English friends can so brightly paint that particular order of humanity which we call “gentlemen and ladies,” but neither heroes, nor saints, nor angels? Can it be because they were both country-bred boys, and for ever after strangely sensitive to courtliness? Why, Giotto also was a country-bred boy. Allegri’s native Correggio, Titian’s Cadore, were but hill villages; yet these men painted, not the court, nor the drawing-room, but the Earth: and not a little of Heaven besides: while our good Sir Joshua never trusts himself outside the park palings. He could not even have drawn the strawberry girl, unless she had got through a gap in them—or rather, I think, she must have been let in at the porter’s lodge, for her strawberries are in a pottle, ready for the ladies at the Hall. Giorgione would have set them, wild and fragrant, among their leaves, in her hand. Between his fairness, and Sir Joshua’s May-fairness, there is a strange, impassable limit—as of the white reef that in Pacific isles encircles their inner lakelets, and shuts them from the surf and sound of sea. Clear and calm they rest, reflecting fringed shadows of the palm-trees, and the passing of fretted clouds across their own sweet circle of blue sky. But beyond, and round and round their coral bar, lies the blue of sea and heaven together—blue of eternal deep.

You will find it a pregnant question, if you follow it forth, and leading to many others, not trivial, Why it is, that in Sir Joshua’s girl, or Gainsborough’s, we always think first of the Ladyhood; but in Giotto’s, of the Womanhood? Why, in Sir Joshua’s hero, or Vandyck’s, it is always the Prince or the Sir whom we see first; but in Titian’s, the man.

Not that Titian’s gentlemen are less finished than Sir Joshua’s; but their gentlemanliness[21] is not the principal thing about them; their manhood absorbs, conquers, wears it as a despised thing. Nor—and this is another stern ground of separation—will Titian make a gentleman of every one he paints. He will make him so if he is so, not otherwise; and this not merely in general servitude to truth, but because in his sympathy with deeper humanity, the courtier is not more interesting to him than any one else. “You have learned to dance and fence; you can speak with clearness, and think with precision; your hands are small, your senses acute, and your features well-shaped. Yes: I see all this in you, and will do it justice. You shall stand as none but a well-bred man could stand; and your fingers shall fall on the sword-hilt as no fingers could but those that knew the grasp of it. But for the rest, this grisly fisherman, with rusty cheek and rope-frayed hand, is a man as well as you, and might possibly make several of you, if souls were divisible. His bronze colour is quite as interesting to me, Titian, as your paleness, and his hoary spray of stormy hair takes the light as well as your waving curls. Him also I will paint, with such picturesqueness as he may have; yet not putting the picturesqueness first in him, as in you I have not put the gentlemanliness first. In him I see a strong human creature, contending with all hardship: in you also a human creature, uncontending, and possibly not strong. Contention or strength, weakness or picturesqueness, and all other such accidents in either, shall have due place. But the immortality and miracle of you—this clay that burns, this colour that changes—are in truth the awful things in both: these shall be first painted—and last.”

With which question respecting treatment of character we have to connect also this further one: How is it that the attempts of so great painters as Reynolds and Gainsborough are, beyond portraiture, limited almost like children’s. No domestic drama—no history—no noble natural scenes, far less any religious subject:—only market carts; girls with pigs; woodmen going home to supper; watering-places; grey cart-horses in fields, and such like. Reynolds, indeed, once or twice touched higher themes,—“among the chords his fingers laid,” and recoiled: wisely; for, strange to say, his very sensibility deserts him when he leaves his courtly quiet. The horror of the subjects he chose (Cardinal Beaufort and Ugolino) showed inherent apathy: had he felt deeply, he would not have sought for this strongest possible excitement of feeling,—would not willingly have dwelt on the worst conditions of despair—the despair of the ignoble. His religious subjects are conceived even with less care than these. Beautiful as it is, this Holy Family by which we stand has neither dignity nor sacredness, other than those which attach to every group of gentle mother and ruddy babe; while his Faiths, Charities or other well-ordered and emblem-fitted virtues are even less lovely than his ordinary portraits of women.

It was a faultful temper, which, having so mighty a power of realization at command, never became so much interested in any fact of human history as to spend one touch of heartfelt skill upon it;—which, yielding momentarily to indolent imagination, ended, at best, in a Puck, or a Thais; a Mercury as Thief, or a Cupid as Linkboy. How wide the interval between this gently trivial humour, guided by the wave of a feather, or arrested by the enchantment of a smile,—and the habitual dwelling of the thoughts of the great Greeks and Florentines among the beings and the interests of the eternal world!

In some degree it may indeed be true that the modesty and sense of the English painters are the causes of their simple practice. All that they did, they did well, and attempted nothing over which conquest was doubtful. They knew they could paint men and women: it did not follow that they could paint angels. Their own gifts never appeared to them so great as to call for serious question as to the use to be made of them. “They could mix colours and catch likeness—yes; but were they therefore able to teach religion, or reform the world? To support themselves honourably, pass the hours of life happily, please their friends, and leave no enemies, was not this all that duty could require, or prudence recommend? Their own art was, it seemed, difficult enough to employ all their genius: was it reasonable to hope also to be poets or theologians? Such men had, indeed, existed; but the age of miracles and prophets was long past; nor, because they could seize the trick of an expression, or the turn of a head, had they any right to think themselves able to conceive heroes with Homer, or gods with Michael Angelo.”

Such was, in the main, their feeling: wise, modest, unenvious, and unambitious. Meaner men, their contemporaries or successors, raved of high art with incoherent passion; arrogated to themselves an equality with the masters of elder time, and declaimed against the degenerate tastes of a public which acknowledged not the return of the Heraclidæ. But the two great—the two only painters of their age—happy in a reputation founded as deeply in the heart as in the judgment of mankind, demanded no higher function than that of soothing the domestic affections; and achieved for themselves at last an immortality not the less noble, because in their lifetime they had concerned themselves less to claim it than to bestow.

Yet, while we acknowledge the discretion and simple-heartedness of these men, honouring them for both: and the more when we compare their tranquil powers with the hot egotism and hollow ambition of their inferiors: we have to remember, on the other hand, that the measure they thus set to their aims was, if a just, yet a narrow one; that amiable discretion is not the highest virtue, nor to please the frivolous, the best success. There is probably some strange weakness in the painter, and some fatal error in the age, when in thinking over the examples of their greatest work, for some type of culminating loveliness or veracity, we remember no expression either of religion or heroism, and instead of reverently naming a Madonna di San Sisto, can only whisper, modestly, “Mrs. Pelham feeding chickens.”

The nature of the fault, so far as it exists in the painters themselves, may perhaps best be discerned by comparing them with a man who went not far beyond them in his general range of effort, but who did all his work in a wholly different temper—Hans Holbein.

The first great difference between them is of course in completeness of execution. Sir Joshua’s and Gainsborough’s work, at its best, is only magnificent sketching; giving indeed, in places, a perfection of result unattainable by other methods, and possessing always a charm of grace and power exclusively its own: yet, in its slightness addressing itself, purposefully, to the casual glance, and common thought—eager to arrest the passer-by, but careless to detain him; or detaining him, if at all, by an unexplained enchantment, not by continuance of teaching, or development of idea. But the work of Holbein is true and thorough; accomplished, in the highest as the most literal sense, with a calm entireness of unaffected resolution, which sacrifices nothing, forgets nothing, and fears nothing.

In the portrait of the Hausmann George Gyzen,[22] every accessory is perfect with a fine perfection: the carnations in the glass vase by his side—the ball of gold, chased with blue enamel, suspended on the wall—the books—the steelyard—the papers on the table, the seal-ring, with its quartered bearings,—all intensely there, and there in beauty of which no one could have dreamed that even flowers or gold were capable, far less parchment or steel. But every change of shade is felt, every rich and rubied line of petal followed; every subdued gleam in the soft blue of the enamel and bending of the gold touched with a hand whose patience of regard creates rather than paints. The jewel itself was not so precious as the rays of enduring light which form it, and flash from it, beneath that errorless hand. The man himself, what he was—not more; but to all conceivable proof of sight—in all aspect of life or thought—not less. He sits alone in his accustomed room, his common work laid out before him; he is conscious of no presence, assumes no dignity, bears no sudden or superficial look of care or interest, lives only as he lived—but for ever.

The time occupied in painting this portrait was probably twenty times greater than Sir Joshua ever spent on a single picture, however large. The result is, to the general spectator, less attractive. In some qualities of force and grace it is absolutely inferior. But it is inexhaustible. Every detail of it wins, retains, rewards the attention with a continually increasing sense of wonderfulness. It is also wholly true. So far as it reaches, it contains the absolute facts of colour, form, and character, rendered with an unaccuseable faithfulness. There is no question respecting things which it is best worth while to know, or things which it is unnecessary to state, or which might be overlooked with advantage. What of this man and his house were visible to Holbein, are visible to us: we may despise if we will; deny or doubt, we shall not; if we care to know anything concerning them, great or small, so much as may by the eye be known is for ever knowable, reliable, indisputable.

Respecting the advantage, or the contrary, of so great earnestness in drawing a portrait of an uncelebrated person, we raise at present no debate: I only wish the reader to note this quality of earnestness, as entirely separating Holbein from Sir Joshua,—raising him into another sphere of intellect. For here is no question of mere difference in style or in power, none of minuteness or largeness. It is a question of Entireness. Holbein is _complete_ in intellect: what he sees, he sees with his whole soul: what he paints, he paints with his whole might. Sir Joshua sees partially, slightly, tenderly—catches the flying lights of things, the momentary glooms: paints also partially, tenderly, never with half his strength; content with uncertain visions, insecure delights; the truth not precious nor significant to him, only pleasing; falsehood also pleasureable, even useful on occasion—must, however, be discreetly touched, just enough to make all men noble, all women lovely: “we do not need this flattery often, most of those we know being such; and it is a pleasant world, and with diligence—for nothing can be done without diligence—every day till four” (says Sir Joshua)—“a painter’s is a happy life.”

Yes: and the Isis, with her swans, and shadows of Windsor Forest, is a sweet stream, touching her shores softly. The Rhine at Basle is of another temper, stern and deep, as strong, however bright its face: winding far through the solemn plain, beneath the slopes of Jura, tufted and steep: sweeping away into its regardless calm of current the waves of that little brook of St. Jakob, that bathe the Swiss Thermopylæ;[23] the low village nestling beneath a little bank of sloping fields—its spire seen white against the deep blue shadows of the Jura pines.

Gazing on that scene day by day, Holbein went his own way, with the earnestness and silent swell of the strong river—not unconscious of the awe, nor of the sanctities of its life. The snows of the eternal Alps giving forth their strength to it; the blood of the St. Jakob brook poured into it as it passes by—not in vain. He also could feel his strength coming from white snows far off in heaven. He also bore upon him the purple stain of the earth sorrow. A grave man, knowing what steps of men keep truest time to the chanting of Death. Having grave friends also;—the same singing heard far off, it seems to me, or, perhaps, even low in the room, by that family of Sir Thomas More; or mingling with the hum of bees in the meadows outside the towered wall of Basle; or making the words of the book more tuneable, which meditative Erasmus looks upon. Nay, that same soft Death-music is on the lips even of Holbein’s Madonna. Who, among many, is the Virgin you had best compare with the one before whose image we have stood so long.

Holbein’s is at Dresden, companioned by the Madonna di San Sisto; but both are visible enough to you here, for, by a strange coincidence, they are (at least so far as I know) the only two great pictures in the world which have been faultlessly engraved.

The received tradition respecting the Holbein Madonna is beautiful; and I believe the interpretation to be true. A father and mother have prayed to her for the life of their sick child. She appears to them, her own Christ in her arms. She puts down her Christ beside them—takes their child into her arms instead. It lies down upon her bosom, and stretches its hand to its father and mother, saying farewell.

This interpretation of the picture has been doubted, as nearly all the most precious truths of pictures have been doubted, and forgotten. But even supposing it erroneous, the design is not less characteristic of Holbein. For that there are signs of suffering on the features of the child in the arms of the Virgin, is beyond question; and if this child be intended for the Christ, it would not be doubtful to my mind, that, of the two—Raphael and Holbein—the latter had given the truest aspect and deepest reading of the early life of the Redeemer. Raphael sought to express His power only; but Holbein His labour and sorrow.

There are two other pictures which you should remember together with this (attributed, indeed, but with no semblance of probability, to the elder Holbein, none of whose work, preserved at Basle, or elsewhere, approaches in the slightest degree to their power), the St. Barbara and St. Elizabeth.[24] I do not know among the pictures of the great sacred schools any at once so powerful, so simple, so pathetically expressive of the need of the heart that conceived them. Not ascetic, nor quaint, nor feverishly or fondly passionate, nor wrapt in withdrawn solemnities of thought. Only entirely true—entirely pure. No depth of glowing heaven beyond them—but the clear sharp sweetness of the northern air: no splendour of rich colour, striving to adorn them with better brightness than of the day: a gray glory, as of moonlight without mist, dwelling on face and fold of dress;—all faultless-fair. Creatures they are, humble by nature, not by self-condemnation; merciful by habit, not by tearful impulse; lofty without consciousness; gentle without weakness; wholly in this present world, doing its work calmly; beautiful with all that holiest life can reach—yet already freed from all that holiest death can cast away.

FOOTNOTES

[20] As showing gigantic power of hand, joined with utmost accuracy and rapidity, the folds of drapery under the breast of the Virgin are, perhaps, as marvellous a piece of work as could be found in any picture, of whatever time or master.

[21] The reader must observe that I use the word here in a limited sense, as meaning only the effect of careful education, good society, and refined habits of life, on average temper and character. Of deep and true gentlemanliness—based as it is on intense sensibility and sincerity, perfected by courage, and other qualities of race; as well as of that union of insensibility with cunning, which is the essence of vulgarity, I shall have to speak at length in another place.

[22] Museum of Berlin.

[23] Of 1,200 Swiss, who fought by that brookside, ten only returned. The battle checked the attack of the French, led by Louis XI. (then Dauphin) in 1444; and was the first of the great series of efforts and victories which were closed at Nancy by the death of Charles of Burgundy.

[24] Pinacothek of Munich.

A Changeling.

A little changeling Spirit
Crept to my arms one day.
I had no heart or courage
To drive the child away.

So all day long I soothed her
And hushed her on my breast;
And all night long her wailing
Would never let me rest.

I dug a grave to hold her,
A grave both dark and deep:
I covered her with violets,
And laid her there to sleep.

I used to go and watch there,
Both night and morning too;
It was my tears, I fancy,
That kept the violets blue.

I took her up: and once more
I felt the clinging hold,
And heard the ceaseless wailing
That wearied me of old.

I wandered and I wandered
With my burden on my breast,
Till I saw a church door open,
And entered in to rest.

In the dim, dying daylight,
Set in a flowery shrine,
I saw the kings and shepherds
Adore a Child divine.

I knelt down there in silence;
And on the Altar-stone
I laid my wailing burden,
And came away,—alone.

And now that little Spirit
That sobbed so all day long,
Is grown a shining Angel,
With wings both wide and strong.

She watches me from heaven,
With loving, tender care,
And one day, she has promised
That I shall find her there.

A. A. P.

Lovel the Widower.