Chapter XIII: Nature Worship

ABOUR being done, we naturally look for reward, which is the legitimate termination of work. This reward may be rest, or wealth, or fame; it is the spur of our exertion, the caviare of our ambition; upon it we exist through the famishings and the anxieties, the hard roads and long miles; it is the destination which fills our imagination from the very first step of our journey, else would we have fainted twenty times over. It is the day's wage or week's wages which supports the toiler or the workman through all the hours between him and the hour of pay.

And this is not wrong. Buddha bids us seek truth and morality without hope. The sentimentalist would say, 'Work for the love of labour;' but we hold that this is not inducement enough. Walk hard, because fatigue ought to be a pleasure? No! walk to produce the fatigue, that you may be able to know to the full extent the delightful flavour of rest. Work, be it at painting or writing, that you may see the idea embodied and perpetuated; if it be at bricklaying, that you may see the wall rise up, layer by layer; help the needy and afflicted, that you may comfort them; raise the fallen, that you may see them rise.

Be pure and charitable and as sinless as you can with the help of God, that you may stand holy in that holy Light. Use your influence to make those purer around you, that you may have only the incense of purity surrounding you now and hereafter. Thus, to be virtuous after the creed of Gautama is work such as Hercules worked at the stables of Augeas; to be virtuous, as Jesus Christ taught, is to be inspired with the presence of God all through earth's life and stand unsubdued at its close.

When Hannibal, and after him Napoleon, crossed the Alps, Italy lay to their hand; the certain prospect of Italy, fertile and rich, aided them in the removal of fearsome barriers, imparted to them the daring to brave toppling crags, slipping ice-ridged streams, appalling heights, quivering avalanches, swaying to and fro as they passed, swinging over in their rear with that muffled soul-sickening thud which they knew meant a snowy grave to those behind. Italy, the grape-hung, the sun-laved, was before them on the other side, with its wealth and power--nay, it was with them, in their hunger and bitter cold, as the presence of God is with the devout every hour of his earth-life.

But when Bonaparte came within sight of Moscow, the vision of which had supported him and his famished army all through those awful icy leagues, and beheld in the light of those blazing domes the destruction of his hopes, then, and only then, the full bitterness of that winter march began.

So with the warrior prince-leader of Israel, when he stood up face to face with God and cried out in the passionate strength of his man-thirst, 'Let me go over and see the good land'--the land he had worked and walked so long to see, for which he had given up all the pomp of the Egyptian court, and, still greater sacrifice, the erudite society of the sumptuous priesthood, to consort with a nation of spiritless, ignorant, and discontented slaves.

I like to embody this great leader of Israel, not as his countrymen knew him when he led them out of the land of bondage, the snowy-bearded grave statesman and law-giver, but as the Prince Rameses, the mighty Egyptian Lord of Lords, the favoured son of the Queen Amense, always the companion of philosophers and sages, hearing the petitions of his people in the outer courts, driving his gold-embossed chariot between long avenues of sphinxes, reviewing his countless hosts in the open plain outside the great royal city of On, crowned victor as he swept home from battle, over garlands of roses and lilies, with armies of white-vestured priests of Ptah, dancing girls, singing maidens, and the sacred women of Bast (the lady of Auchta), all surrounding with fumes of incense and hymns of praise Egypt's pride Rameses the Mighty.

I think of him in the palace of his adopted mother; on the terrace, decorated with chaste designs of lapis lazuli, malachite, and precious stones; sitting upon ebony-carved byssus-draped couches, Rameses, with the royal lady, gazing over their good land. Away in the distance the red-tinged hills lifted above the tawny sands; between the palace and the Libyan hills are hordes of slaves brickmaking and temple-raising, with a white-grey sky above them and choking dust all round; slaves toiling on foot, mostly female; strong young women whom labour will not tame; dark-skinned matrons who find a joy in that they have once more sons to suckle, even in that hour of quenchless thirst; wrinkled-skinned old women who have grown passive to rebuke, and deadened to the lash; old men sweating and dropping dead or afaint, some digging trenches for the fancy lakes, some dragging the stones that have come down the Nile. The girls and boys are the brickmakers, and the strong men are the drivers, copper-tinted Egyptians who sit on chairs which the strong women bear, while others hold up the great sun-shades, or fan with ostrich fans the heat which the lashing exercise brings upon them. It is a good land. Nile spreads along in sight of all, prince and slave, with its sweet treasures and its clouds of bird-life, and by its banks rise those columned buildings. Colour is over all, rich tints in yellow, blue, red, and black, grounded with white, symbolic in design, each tint a law unchanging. Over red and white walls the fruit trees hang, and the spreading Nile bears upon its breast the echoings of fertile gardens, and the barges ever passing from the city of the dead to the city of the living, pleasure boats with golden-wigged ladies and jewelled men, and the sounds of instruments joining and jarring upon the groans of the afflicted.

I think more of Moses as Rameses, discussing with his queen-mother that vexing conundrum of the day, increasing Israel, than of Moses solving the question later on. I seem to see his aged father and unknown mother amongst that seething mass, hiding their secret between their hearts, shouting with the crowd, Hosanna to the king of kings, their God-like son. And then my vision shifts, and I see him taking leave of his people, none there now who knew him in his royal pomp and splendid manhood.

What a life of abnegation! Bred for a king, laying down his crown, happy in his desert freedom, giving up his rest, daring in his faith, becoming the chief of a horde of ignorant serfs and advocating their rights in the throne-room--once his own--leading them out from the tyrant power, yielding but a little when sorely tried, creating reason in brains all reasonless, wandering through a land of doom, with his God ever beside him, helping that mighty work. Think on the task of raising the serfs of Russia to reason out their own condition and so help themselves! Hundreds of earnest souls have been hard at the work for hundreds of years, and yet they are still hundreds of years from the promised land.

Imagine a lower state, viler than any race you can bring up as an example on earth's face, more hopelessly sunk in the satisfaction of apathy and degradation, and you have not reached the moral level of Israel when Rameses put forth his hand to lift them out of their slough: slaves of centuries to be educated in forty years; slaves with all the whip-checked vices of slavery let loose by an acquired power. The first instinct of liberty was the beast instinct of destruction running and tingling like mixed wines through every vein. Moses and Aaron, with the Lord about and before them, led out of Egypt a congregation of mind-crusted, unreasoning serfs.

But now his task is done and he can go to his well-earned repose; the slaves and slave-binders are dead who came out of Egypt, and are buried by the way; the rest are free men now, and under control. They have their laws and obligations, which makes them a people; they have their leaders appointed, which makes them a state. Pharaoh is a thing of the past, Egypt a myth-land, Canaan the good country towards which their wishes tend. Already have their souls crossed the Jordan; and though they wear sack-cloth for thirty days on the plains of Moab for the old man who has gone from them up the hill of Nebo, though their tears flow apace, yet the strong men are grinding their steel, with their hearts soaked in triumph and conquest.

Up the mountain the great old seer passed. I think Joshua supported him up so far, to the foot of Pisgah, and then they parted. A thin mist was creeping from the brow of the hill, and even as the warrior gazed it caught the statesman, and drew him from the sight of all.

No man saw within that veil of mist, for God was there. Yes, once it parted, when he reached the top. That mist was made of angels' wings. They drew aside, and for a time permitted him to view the promised land, and the Lord was with him, pointing it all out.

A voice from the mist of the angels' wings told him of the presence of God, so he stood up, clutching to the rock beyond which he gazed, the shadow of the mountain over the plains of Moab and the last fiery ray of evening laving the land in front.

He saw all Gilead unto Dan, to the utmost sea, where the line of unbroken amethyst crossed the scarlet clouds; Naphtali, Ephraim, Manasseh, the valley of Jericho, and the city of palm-trees.

His back was to the sun, and for a moment it fell upon him, casting his shadow over the hill-edge, a statuesque, white-clad, unbent figure, with rolling tresses of grey and streaming beard, looking out.

Then the legions closed upon him and the sun went down.

To the poet the death of Moses is filled with glorious imagery. Nature is here absorbing a grand portion of her own spirit to give it out again to other souls. God is the mighty mover of all, but He is indefinite--in the wind bearing melancholy sounds and bodes, in the waters lapping the shingle or rushing over the great rocks, in the vague dreams which possess him as he gazes out upon the countless planets, in the wild yearning to be solved by that overpowering impregnation of silence.

To the painter it all comes in a vision of colour; it is a blending of spirit harmonies, rainbow shades, a sense of the eye that embodies the spirit into a definite pleasure. By faith he sees revelations, the golden streets and crystal rivers, and, above all, the great prismatic light.

To the utilitarian Nature represents a scheme of economy and utility. We are one of a countless cluster of planets. The sun which shines over us is but one of a vast chain of reflections and magnetic communications, the moon is but one of many discs; the world swims in chaos; all partake of the bountiful provision of an unchangeable law; not one world is to be considered more than another, not one accident to be deplored, from the combustion of a globe to the crushing of a worm, while it only affects its _own destiny_. It was good that the Son of Man should die for men, good for the minority to suffer, if by their pangs the harmony of the majority is secured. Virtue is only according to circumstances; morality is a thing of adjustment; there are no fixed laws of conduct. If vice conduce to the happiness of men, then it has become a virtue; if the removal of a man lead to the restoration of peace, then to kill him is not murder. The end justifies the means: a Jesuitical policy, which has been flung in their teeth as a sign of distrust; the policy of England's Commonwealth, when Oliver Cromwell, with the other members of Parliament, signed away the life of their king. To the utilitarian the earth is a garden for the use of mankind; it is the religion, since men began to herd together; it recognises only the Gods or God of the day. It is the keynote to the sacred bond of Freemasonry. Love is good for the community; set up love and friendship, and rear an altar to them. Unity is well for man, so lay down all private likes and dislikes, annihilate all personal speculations which may breed discord; for the spirit of Truth as she hovers in mid-heaven has the hues of the chameleon, and changes in shape to each eye. What I see, you cannot. Therefore the fact must be carried by vote if you would be perfectly utilitarian in your aims. The reformer is a disturber of concord always. Cassandra disturbed Troy, Jesus Christ disturbed Jew and Gentile; so for the sake of utilitarian peace Pilate washed his hands, and the crucifiers had it all their own way.

Henry George is a utilitarian in principle, but as he speaks as yet in the minority, albeit advocating the welfare of the majority, until men are convinced as to his line of argument he is a disturber of the peace of present society. Whether his scheme for the regulation of mankind would be successful is as yet doubtful in the extreme, seeing that he ignores all other means except his pet theory. As we find man at present, poverty is in many cases a protection rather than a curse. With passions paramount by ages of contamination, and habits confirmed, opportunity would only sink them deeper in the mire. Drink reformers, food reformers, crime reformers, have before them superhuman labour ere the Henry George jubilee will be of utility to the lower strata. Sanitation, knowledge, morality must be universally taught first, and what is good will follow as a consequence. To us it seems that poverty is of greater utility for the redemption of mankind than wealth. We would see all men poor and sacrificing. It is better for the rich to become poor than for the poor to become rich.

To the utilitarian Nature has a spirit, but it is a spirit of convenience. Floods rush, not to destroy houses, but to water districts. Hurricanes come, not to strew strands with wrecks and wasted lives, but to carry off infections, clear the poisons from the atmosphere. Nature is a great manufactory, where benefits are created for the use of man; and the Spirit is the worker who is busily coining good for the greater number. Trees are admired, not for the waving of the foliage, not for the serpentine curvature of the branches, the half tones about the boles, or glad tints on the leaves, but for the uses of that tree when it is cut down. A true utilitarian is the direct antithesis of the poet or painter.

To the agnostic Nature is a solemn image set up before the eye; the veiled Isis, soulless, or endowed with a spirit unseen and therefore unknown.

'Before I go whence I shall not return, even to the land of darkness.'--Job x. 21.

The agnostic does not deny God or the possibility of eternity; Genesis is not a legend to be laughed at; soul is not to be disputed. Agnostics only stand upon the platform of their senses; they know by geological research that earth was not created in six days; they know by astronomical observation that the sun and moon could not stand still, that if the earth paused one second of time in its velocity it would be destroyed--blotted out utterly from the clusters of stars; by naturalistic knowledge they have proved that the fauna of the earth could not be gathered together or carried inside the Ark; souls have not returned to them from that dark land beyond the grave; if there be secrets, death has locked them up, and they cannot get past it and return to tell their tale.

They doubt not, because they know not, neither do they believe. Faith is a sentiment, as love is, or fear, only built up on a more slender foundation; what they can see and touch they testify to, all beyond that is beyond them.

Some say that agnostic means atheist; it does not. There are no atheists, nor could any human mind capable of reason be atheistic, because to be one it must be convinced beyond dispute and declared definitely that there is no futurity and no God, and the most that incredulous science can assert is that there is no evidence palpable of the existence of a God. The atheist would be a fool unredeemed and unredeemable, like to the man who, shutting his eyes, shouts out insanely that it is dark to everyone, whether it is or not. The agnostic by research has proved that he knows nothing, and there he stops; there may or may not be. If bold he takes his risk of that 'to be'; from the evidences of the beneficent order of Nature, he trusts his case in the unknown hands: if it is Providence, that Providence is too all-wise to revenge ignorance; if it is chance, he counts upon the hour.

Youth and strength and beauty and health are the aims of life to strive after, the golden hours of summer, when sunshine lights up the heart of all creation, and man, with the plants, feels the divine instinct of life surging in him. He pauses irresolute at the first stratum of earth's crust; beneath that metal plate seethes the fire; that represents to him the beginning. Yet he knows that it was not. The world revolves the portion of a circle; yet why that circle of a sun-centre, or that wider circle within which both suns and earths revolve, or what the centre which controls the entire system of immensity may be, he dares not affirm. Our lives are miracles, yet we are habituated to them, and name them chance. That the earth revolves is no greater wonder than that it should stop and roll again; yet that it revolves constantly and only stopped once, is the point that they will not approve. They learn that era after era the earth was destroyed, and species created without connecting links. Theorists as mad in their dogmatism and desire to prove evolution, as they consider the devotionalist to be in his supernatural credences, try to hang facts upon threads and dovetail corner-pieces and centres, but science gives no encouragement to theory. The agnostic, to be consistent, must hold aloof from Darwinism as he holds back from faith doctrines; he must be content to use his eyes, ears, nostrils, fingers, and mouth. Instinct or surmise with him cannot be sense.

It is a fair day and a blue sky. The mountains are piles of softest velvet, grey, mauve, olive green, and bistre; a soft air that inebriates the brain and shakes the petals of the flush-rose; a day amongst fine days to be hereafter long remembered, for the woman of his choice has listened to his words Eros-shafted, and yielded up her will to his discretion; is she not a type of more than earth-life as she stands before him in the clear lustre of her maidenhood love-glorified? It is not flesh-worship which sways him now, for her beauty has about it to him the sanctity of the religion he cannot receive; in the humbleness of his awe-freighted triumph he could forget his naturalism and cry out, 'Be thou my God!'

Around them wafts the odour of gardens and fields, the spirit of the flowers is floating around, the soul of the sunbeam is kissing them both, the union of outer beauty and inner life wraps them in the all-pervading, everlasting folds; for who dare say that the soul of a perfume can fade? His spirit clasps with her spirit, and both soar away, with the multitudinous souls of things gone by, and things drifting on, up those ladders of light into the presence of God. In this moment the agnostic is an agnostic no longer, for he has seen heaven, whether he believes it hereafter or not.

So love has opened to him the vision of St. John. It is woman who has become the typified divinity, love which embraces faith and hope, casting out self, yet surrounded by barricades of fears; it is an instinct of humanity, as pity, grief, or that innate combination which modern philosophy terms superstition, an elevated instinct of humanity, for it is not the woman-flesh which inspires him with this rapturous awe; it is the magnetic influence of the woman-soul over the man-soul, and this the agnostic feels, in spite of all his former scientific rant about body and brain.

At the present hour we stand on the threshold of mysteries, with the rusted key in our hands which will open the closed door. Four thousand years ago man halted here, with the key in his hand, only it was new and glittering then, and used to that easily turned lock. Behind that door waited legions of souls, upon the opening by man, when they would come and tell him all that lay beyond the good land, his by right of gift, theirs by right of heritage, and they brought with their knowledge great power. That was the hour when myriads of agencies--each agency strong enough to stop a planet--waited on the voice of the man who held the key of the portals between their worlds and his; that was the hour when Abraham and Lot spake with angels, when Pharaoh bent his scientific neck before the miracles of calamity; that was the hour when the pillar of fire passed through the sea, and unseen forces swept back the water till they reared up great protecting walls--wondrous walls of sea-shells and conglomerate, like some rare kind of polished marble, the specimens alive but struck death-still with amazement, the roaring hushed as they passed under the arching crests, a gleam of starry space far above, and a glare along the watersides from that crimson pillar in front.

That was the hour when familiarity made remonstrance possible, and man gauged the strength of his science against Almighty prescience, as he does still, only then prescience replied directly to reason, and power refuted by immediate evidence of cause and effect, for then reason did not wilfully close its eyes upon possibility, and man owned the superiority of his Creator.

It was a good land when the angels of God visited man upon the plains, when the voice of God was heard within the mountains, when Enoch, by preparation, body and soul, became spiritual enough to dispense with the services of death; when Moses went up, with clear eye and upright head, to make the last peace-offering--himself, on Mount Nebo: Moses who by philosophy had rendered his mind fit to consort with the inner circle around the throne, who by abnegation had rendered his body fit to offer up the last great sacrifice for his people in the land of darkness, with soul ready to be redeemed.

Ah! what an audience waited upon that solemn change, upon the dimming of that eagle eye, the relaxing of that upright figure! No man can find his grave--no man knows his end; yet we may conjecture that as he looked and longed, with his body chained to Mount Nebo and his spirit flying over the land, held to the mortal portion but by a thread, as the falcon is held to wrist, an elastic cord that elongated as he flew, waxing thinner as it farther stretched, until it was almost unseen; then death came from that white-draped crowd, draped in the red robe of man's passionate desire, flitting over, like a gleam of sunset, from the midst of cherubim and seraphim, angel and archangel, flitting over his 'abeiyeh' with gleaming fingers, lighting up his 'kefiyeh' as it sought for the source of that unseen cord--the shears of death--red, golden shears have clipped the link, and Moses is in Canaan, the heaven of his present desires, and the supine clay is being attended to.

Nearly two thousand years ago the climax came to all that mystic intercourse: from the supernatural unseen Teacher, God became the natural sure friend and teacher of man, and so He has continued ever since--amongst men when they like to have Him, imparting the knowledge of the supernatural to those who choose to learn, holding out a key all unrusted, in exchange for the key which we have ourselves left to lie and become thickly clotted with rust.

There are angels passing still, for men have used that key; when the lives are pure and the habits simple, when charity extends to wider circles than humanity, and mercy embraces all creation; at times and in obscure places, where God can speak, the Son of God instruct, and the angels work miracles, as they did of old, where faith is paramount and science can only gibber and scoff outside.

It is a good land to all; even to the agnostic, as he waits for darkness, or annihilation, the sun shines hope, the west wind breathes peace, the dew speaks promise when he walks abroad. Science is like the mole, it must bore; it has no affinity with moving creation, it has no interest with life or hope, it lives and battens with the ghouls amongst the dead; yet the deepest borer in philosophy is but a man, and the man part of him must enjoy light as long as science keeps from blinding him entirely.

But to the devotionalist, the Christian, the God-worshipper, what a land of bounty it is! I do not mean those narrow souls who dwell in a vale of tears, those dyspeptic souls who can no more enjoy this world than they will the next, but the man who honours God sufficiently to know that all He created must be perfect--this world for man, the other worlds for those who inhabit them, heaven only fair to the spirit to whom this earth is good. Are not the summer clouds as they float through the atmospheric belt the emblems of the angel forms which are ever passing to and fro in the state beyond--the hills, and rivers, and valleys, the ever-changing landscapes and aerial effects, all created for the pleasure of man by the good Father, all symbolic and typical of the pleasures of the future? It matters little what are the individual or sect ideals of that Creator or futurity toward which they are wending, whether they sit down in ecstatic contemplation, in the midst of Nature's splendour, with the moment of final merging into the great light before them, or look forward to that future when individuality is retained and time alone is merged into eternity. To the man who believes in immortality this earth smiles her sweetest, because there are no melancholy surmises mingling with the present enjoyments. Virtue appeals alike to believers and unbelievers as the wisest guide to follow, the consequences of departure from her laws being immediate and independent of the fear of future punishment. It is not hell which appals the intellectual sinner and deters him from crime, but earth; manhood, not morality; the pride of honour rather than the hope of everlasting reward. But to the hopeless, or spirits who cannot rest upon a hope, what are the pleasures of time but days spent in a condemned cell to the doomed? Every sunset which glorifies the world is a day stolen from precious existence. They glance backwards upon the past with yearning pathos, to the hour when boyhood bounded along the track of life, and religion was the pabulum of custom and Sunday-school the turning point of the week. How foolish it all appears in their intellectual advance, yet how joyous; with what hopeless envy they hear of the ambition of young men and women, who rest their fame upon a class-prize or the applause attending a choir-concert! Ah! those were days when the Son of Man came near enough almost to be seen with the earthly eyes, and the divine messages were palpable.

To the Christian poet and painter nature appears animated by the spirit of a deathless Creator; the body dies, the seasons fade, but another body as real comes forth, and nature spiritualised is revived as the spring drapes the limbs of winter.

To the poet and painter to whom this earth means all, to whom the spirit of nature is but the Greek soul that goes out with the change, never more to be revived unless in the soul left behind, it is all beautiful, but filled with woe; a soul of spring dying before the breath of summer, summer shrinking before the chill of autumn, autumn crouching under the iron heel of winter; death over all--death and despair; and this is the creed of the agnostic.

But to believers, what is it but a continuation of everlasting joy? In pain they see the blessed surcease; in sorrow the golden alleviation; in death, the balmy sleep, and afterwards the glorious waking up; earth, the garden of the Lord, where æsthetic tastes are gratified, where love is generated and friendships are formed to be continued and cemented in eternity, where soul-philosophy, and not pitiful brain-logic, is begun to be followed out without an end, where problems are given to be hereafter solved.

Is it not a good land to poet, painter, utilitarian, agnostic, and devotionalist? When the sun rears from the ocean-bed and rides over the fleecy clouds of morning, while all the ground is teeming with the silver evaporation of pearly night dews; to the poet and painter as they watch the tender colour-shafts, the subtle play of light and delicate blue-grey shadows on the meadows where the cattle graze, over the furrows that the plough is turning up, amongst the dancing ripples adown the waste of heaving waters.

A good land, despite the evils which erring man has brought upon it--the drink-devil who riots in palace and den and wanders even to the verge of pellucid springs, the demon who is sapping the manhood from the human race, who is making bare and bleak the fairest spots, the most consecrated things on earth, whose lank talons spread beyond the grave and rob Paradise of its rarest flowers; despite the smoke-fiend who is aiding and abetting his brother drink to enervate the brain of workers; the devils called luxury and indulgence in all their thousand disguises, whether it be in eating, or drinking, or dressing; despite the vampire called poverty, who squats hand in hand with crime, attended by despair and utter misery.

A good land, where we can cast aside the trammels of cities and get out to see it; where we can forget our brothers in iniquity, our brothers in sorrow and starvation, depths which charity cannot cure, or investigation eradicate, which rise up like black waves against our stemming and threaten in the future to engulf us all.

A good land, where we can abnegate desire, learn to be poor as Christ was poor in order to correct poverty; where we can conquer ourselves, lay down the most clinging habit, for the sake of mankind, and by example teach others at the lower level to be content with God's air, and God's light, and go out to get them; where we can live with less comfort, fewer tastes, and greater simplicity.

A good land, where the great social problem is solved and self-abolished for cause, and men, proud of being poor, as now they grow arrogant in wealth, join hands as little children, forgetting that bat-ghoul philosophy, taking the gifts which God has given to them as the foretaste of better things in store.

A good land here; but what is there to come, where Art begins?

INDEX

Abbey, 157

A B C of art, 115

Aberdonian clipper, 146

Academies, 96

Actions of nature, 28

Adoration in art, 255

Age of romance, 281

Agnosticism, 306-9

Aikenhead (Major), 97

Aissouas, the, 107

'Ally Sloper's Half Holiday,' 166, 167

Alma-Tadema, his work, 80, 193, 194, 273

Almanack, Comic, 166

Anatomy, 95

Ancient Egypt, style of, 299-301

'Ansidei Madonna,' its value, 231

Apocalypse, Albert Dürer's, 156

Ark, dimensions of, 135

Art, realism in, 34;
fashion in, 90;
instinct of, 98;
lessons in, 102;
savage, 102, 214-16;
Eastern, 105;
false, 107;
true aim of, 108, 252;
A B C of, 115;
uses of, 117-18;
practical, 157;
individualism in, 160;
influence of Turner on illustrative, 163;
sacred, 250;
sacrifices of, 252;
imagination in, 254;
adoration in, 255;
soul in, 255;
comic, 260;
Dutch, 268;
dignity in, 268, 293;
symbol of, 291

Art course, time of, 116

Artist and butterfly, 291

Artists as readers, 273

Assyria, styles of, 60

Astronomy, artistic, 276

Atheism, 307

Australian experience, 108-12

Backgrounds, old style, 7

Barnard (F.), 157

Bayeux Tapestry, the, 139

Beauty, 209, 257;
spirit of, 289

Bell, his 'Mary Queen of Scots,' 45

Bellini (Giovanni), 238

Bewick, 159, 160, 173

Black and gold marble, 189

'Black and White,' 165

Blake (William), 35, 89

Blemishes in marbles, 195

Blunders of science, 278

Boats, Egyptian, 136

Body colour, 92

Bolton, 171

Book, an illustrated, 152, 172-5

---- plates, 276

Books on painting, 83

Boots and feet, 200, 201, 203

Botany, artistic, 284

Botticelli (Sandro F.), 240

Bough (Sam), 82

Breydenbach's Travels, 155

Bronzino (Angelo), 240

Brushes, 69

Buddha, 298

Burnett on painting, 127, 129

Burns (Robert), 211

Byron (Lord), 89

Cameron (Hugh), 47, 48

Canvas, preparing a, 179

Carlyle (Thomas), 20, 87, 101

Cassell & Co., 155, 169

Centre line, the, 225

Chalmers (George Paul), 82, 239, 246, 292

Champs and champing, 183, 184

Chatto (W. A.), 150, 152

Chatto & Windus, 166

Chemistry of colour, 92

Chevreul, his book, 115

China collecting, 273

Classification of light, 129

Coleridge, 89, 217

Colour, body, 92;
chemistry of, 92

---- perception, 269

Colours, blending of, 59;
the primaries, 58

Combing, 181, 182

Comfort in ornament, 224

Comic Almanack, 166

---- art, 260

Consistency in ornament, 225

Constable (John), 86, 160

Contrast of ships, 142-5

Contrivance for lighting, 18

Copying, benefit of, 35;
its use and abuse, 81

Correggio (Allegri, A. da), 85, 240, 247

Cox (David), 91

Crane (Walter), his work, 155, 173, 273

Creswick (Thomas), 161

Critics, 80

Cromwell, 305

Cross-bars, 184

Cross-hatching, 155

Cruelty of science, 290

Cruikshank (George), 157, 160, 166, 167, 260

'Daily Graphic,' 170

'Death of Procris,' 246

Decoration, 208

Designing, 114

Details, 77;
of foregrounds, 268

Dignity in art, 268, 293

Distortion of vision, 33

Dobson (Austin), 150

Doré (Gustave), 82, 89, 95, 160, 168-171, 248

Dove marble, 191, 192

Dow (Gerard), 243

Drawing, 114;
on the wood, 157

Dress, 99, 196;
modesty in, 201;
fashion in, 203-7

Drummond (William), 195

Dumas (A.), fils, 220

Dürer (Albert), 34-9, 44, 52, 155-7, 242, 274

Dutch Art, 268

Eastern Art, 105

Economy in Ornament, 224

'Editions de Luxe,' 175

Egypt, style of, 60

---- ancient, style of, 299-301

Egyptian boats, 136

'Eight Bells,' 113

Eliot (George), 220

'English Illustrated Magazine,' 165

Etching and Etchers, 41

Ex Libris, 272, 276

Ex Libris Society, 173

Exhibitions, 96, 261

Expression, 23

Eyck (Jan van), 243, 247

Faed (Thomas), 47, 82

Failures, the benefit of, 112

Faith, 312

False art, 107

Fashion in art, 90;
in dress, 203-7

Feeling, 28

Fildes (Luke), 82

Fiorenzo di Lorenzo, 247

First coating, 178

Foreground flowers, 285

Foster (Birket), 173

---- (John), 53

Francesca (Piero della), 238

Frith, his 'Derby Day,' 87

Fuligno (Niccolo di), 247

Furniss (Harry), 167

Gainsborough (Thomas), 94

Galleys, Greek, 137

Garvagh 'Madonna,' the, 232, 234

George (Henry), 305

Gillray, 260

Glazing, 81

Goethe, 89

Goodwin Sands, 148

Gradation of shadows, 124

Graining, 86, 176, 178

Grammar of Art, the, 292

Grandi (Ercole de Giulio), 247

Granite, 192

'Graphic' (Daily), 170;
(Weekly), 165

Greek ideals, 199

---- ships and galleys, 137

Grey, the quality of, 18

---- paper, the value of, 130

Ground for black and gold marble, 189

---- for maplewood, 187

---- for oak, 180

Gum tree, the, 110-2

Hag, the, 46

Half-tones, 19

Hals (Frans), 243

Hamerton, 41

Hannibal, 296

Harmony, 128

'Harper's Monthly,' 165

Harvey (Sir George), 82

Hatching work, 92

Hatherell (William R. I.), 165

Hayden (Dr. G.), 41

'Henri Grâce à Dieu,' 140

Henry the Eighth, 241

Heraldry, 276

Herdman, 82

Herkomer, 41

Hobbema, his work, 248

Hogarth (William), 157, 159, 160, 268

Holbein (Hans), his work, 241, 244

Homer, 218-220, 293

Hunt (Holman), 63

---- (William), 15, 36, 54

Huxley, 214

Illusive Effects, 123

Illustrative art, Turner's influence on, 163

Image, the, 29

---- of Fame, the, 295

Imagination in art, 254

Imitation of nature, 28

Impressionists, school of, 53

Impressions of pictures, 230

Individualism in art, 160

Insects, 289

Instantaneous effects of nature, 126

---- photography, 29, 164

Instinct of art, 98

Irving (Henry), 222

Israels (Jozef), 64

Italian marbles, 192

---- school of painters, 128

Jackson, 152

Job, 102

Judgment in painting, 270

'Julius II. (Pope),' 234

Kingsley (Charles), 216

Knotting, 177

Knowles (Davidson), 145

Knox (Dr.), his work, 115

Landscape Photography, 42

Lastman (Peter), 35

Lawrence (Sir Thomas), 19

Leech (John), 260

Leighton (Sir F.), 80

Lessons in art, 102

Libraries, arrangement of, 275

Lichens, mosses, &c., 287

Life and nature studies, 116

Light, classification of, 129

---- and shadow, proportions of, 17;
the effect of, 127

Lighting, 16;
contrivances for, 18
phenomenal laws of, 120

Lippi (Fra Filippo), 240, 247

Lockhart, 82

Lorenzo da San Severino, 247

'Lorna Doone' (Blackmore's), 164

Lorraine, Claude, 248, 249, 293

Loutherbourg (P. J. de), 146

Love the revealer, 309

Low-toned School, the, 64

Macdonald, 82

Madonna, Ansidei, its value, 231

'Magazine of Art,' 165

Mahogany, to grain, 188, 189

Mahomet, 293

Mannerism, 160

Mantegna (Cav. Andrea), 247

Maple wood, to grain, 187, 188

Marble, black and gold, 189;
blemishes in, 195;
method of working black and gold, 189-191

Marbles, Italian, 192

Masonry, 276

Matsys (Quintin), 243

Max (Gabriel), 250, 251

Mechanical workers, 126

Memory, 226

Michael Angelo (Buonarroti), 15, 80, 246, 247, 293

Millais (Sir John), 52, 80, 89

Millet (J. F.), 54

Milton, 101

Modern painters, 66

Modesty in dress, 201

Modjeska (Madame), her art, 208

Mora, his photographic work, 27

Moroni, his work, 234, 237, 238, 240

Moses, as Prince Rameses, 299-304;
death of (word picture), 311

Murillo (Bartolomeo Esteban), 179, 189, 240, 242, 293

Napoleon, 298, 299

National Gallery, 229

Nature, imitation of, 28;
sketching from, 31;
how to approach, 73-5;
instantaneous effects of, 126;
the guide to taste, 189;
different methods of seeing, 313, 314

Nature worship, 297, 304

Nimmo (John C.), 236

Notes, shorthand, 83;
how to take, 103, 104

Oak graining, the art of, 180;
tools required for, 181

Oil painting, 115

Operators, photographic, 6, 7

Orchardson, 47, 48, 49, 50, 80

Original ideas, 101

Ornament, 211-3;
comfort in, 224;
economy in, 225;
consistency in, 225

Outline work, 154

Over-graining, 184

Overwork, danger of, 71

Painters, modern, 66;
Italian School of, 128

Painting, books on, 83;
water-colour, 92;
oil, 115;
judgment in, 270

Paper, a scrap of, 284

Parsons (Alfred), 157, 163

Paton (Sir J. Noel), 82, 273

---- (Waller), 82

P. and O. Liners, 144

Perspective, 94

Perugino (P. V.), 36

Pettie (John), 47, 80

Phoenicia, 219

Photographic operators, 6, 7

Photography, instantaneous, 29, 164;
landscape, 42

Picture, what to seek in a, 258

Pictures, the buying of, 91;
impressions of, 230

Pilkington, 34

Piombo (S. del), 247

Poliphili, the, 155

'Pope Julius II.,' 234

Popularity, 245

'Portrait of a Tailor,' 234

Posing, 12

Poussin (G.), 248

Practical art, 157

Pre-Raphaelitism, 63;
mistaken efforts of, 126

Primaries, the, 58

Priming, 177

'Procris, Death of,' 246

Proportions of light and shadow, 17

'Proserpina,' 72

Public opinion, 271

'Punch,' 166

Rameses, Prince (Moses), 299-304

Raphael, 36, 91, 231-5, 251

Rat-tails, 182, 183

Reade (Charles), 176, 177

Realism in art, 34

Reflection, 255, 256

Relief, 128

Rembrandt, 20, 23, 35, 39-42, 45-50, 65, 86, 129, 157, 159, 234, 239, 240, 243-5

Reni (Guido), 238, 239

Repose, 256

Retouching, 20

Reuwich (Erhard), 155

Reynolds (Sir J.), 15, 19, 83, 236

Riggers, 185

'Rivers of France' series, 162

Road, effect of light upon, 127

Roman ships, 137

Romance, age of, 281

Rosa (Salvator), 78, 85, 248

Rubens (Sir Peter Paul), 15, 19, 80, 85, 238, 240, 243

Rules, 79

Ruskin (John), 32, 53, 56-8, 65, 66, 70-2, 83-7, 91, 101, 179, 186, 193, 239, 244, 249

Sacred Art, 250

Sacrifice of art, 252

Sandals, 204

Sarony, his photographs, 27

Sarto (Andrea del), 239, 240

Savage art, 102, 214-7

Science, blunders of, 278; cruelty of, 290

Scott (David), 89

'Scribner's Monthly,' 54

Scumbling, 81;
for oak, 181

Seavey, his backgrounds, 27

Second coating, 178

Shadows, gradation of, 129

Shakespeare, 70, 101, 104, 160

Shelley, 73, 89

Ships, 133, 134, 140, 161;
Greek, 137;
Roman, 137;
contrast of, 142-5

Signorelli (Luca), 247

Sketching from nature, 31

Sky pictures, 280, 282-4

Small (William), 157, 165

Social problems, 314-5

Soul in art, 255

Spagnoletto, 242

Spirit of beauty, 289

Stages of painting, 67;
of the globe, 279, 280

Stanfield (W. C.), 146

Stanley (H. M.), 29

Stars, 277

Stippling, 92

Stirling-Maxwell (Sir W.), 236

'Stones of Venice,' 71

Studio visiting, 88

Style, 82

Styles, 184

Subject, confidence in, 221

Subtlety, 217

Swinburne, 217

Symbol of art, 291

Teniers (David), 35, 47-9, 243, 268

Third coating, 178

Thomson (D. C.), 150

Thomson (Joseph), 29

Tiepolo, 246

Time for art course, 116

Tintoretto, 80, 85, 247, 263, 264

Titian, 15, 85, 91, 247, 263, 264

Tone, 81

Tones, half, 19

Tools required for oak graining, 181

Torchlight, effect of, 121

Trees, 286, 287

True aims of art, 108, 252

Tunny, 53

Turner (J. M. W.), 32, 65, 70, 86, 157, 161, 173, 244, 248, 249;
his influence on illustrative art, 163

Tyndall, 214

Uses of Art, 117, 118

Utilitarianism, 305, 306

Vandyke (Sir A.), 36, 80, 243, 244

Velasquez, 236, 240, 241, 247

Viking craft, 138, 139

Vinci (Leonardo da), 115, 246

Vision, distortion of, 33

Walnut, how to grain, 188, 189

Water-colour painting, 92

Weyden, 243

Whistler (J. McNeill), 20, 86, 91, 236, 245

Whitman (Walt), 44, 45, 217

Wilkie (Sir David), 50, 243

Wohlgemuth (Michael), 35

Wood, drawing on the, 157

Word-painting, 303, 304, 311

Wordsworth, 89

Worth, 99, 100

Wyllie (C. W.), 165

Youth and Age, 313

Zola, 43, 44, 221

Zurbaran (Francisco), 242

Zwanenburg, 35

THE END

PRINTED BY
SPOTTISWOODE AND CO., NEW-STREET SQUARE
LONDON

FOOTNOTES:

[1] Only, not to the encouragement of lazy habits; at times (for the sake of practice) a painter ought to draw the most minute point-detail with the pencil, as a singer practises his scales; otherwise, for the object, the photo is most to be relied upon for truth in all, _except in perspective_.

[2] For an example of what I mean, see the effects in 'Choice Blends' in 'The Idler'.

[3] See 'Specimen Days and Collects,' by Walt Whitman, page 306 of Collects. Want of room prevents me giving the specimen in full, and I dare not mutilate such a literary masterpiece.

[4] See 'Mary Queen of Scots,' by Bell--last scene.

[5] The snow scenes are exquisite, and one exhibited, of a camp fire with figures, a perfect triumph of misty refinement; the faces seen through the smoke particularly to be observed. I would also call the reader's attention to his cattle studies, and the printing done on rough hand-made paper--flat and like sepia and Indian-ink work, only far more refined than hand-work could be.

[6] Some days before the death of Millet, a stag was chased by hunters and dogs into a neighbour's garden and butchered before the dying man's gaze. 'I take it as an omen,' he said mournfully, and prepared for the earth-end.

[7] Esther i. 6.

[8] I have seen this picture since writing these remarks, but without changing my opinion concerning it.

[9] As a worker of broad effects, I lay myself open to be charged with bigotry when I condemn the pre-Raphaelites, and accept the risk.

[10] See _Life and Nature Studies_.

[11] I called attention to the marvellous medicinal virtues of this Eucalyptus-tree long before it was generally accepted by the Faculty. See 'Picturesque Australasia' and 'A Colonial Tramp,' &c.

[12] _See_ 'A New Guinea Village,' p. 125.

[13] _See_ Frontispiece: 'A New Zealand Fern Gully.'

[14] See also _A Treatise on Wood Engraving_, by Chatto & Jackson, p. 46.

[15] The same excuse applies to this present work.

[16] The numbers in this chapter are those of February 1892.

[17] George Paul Chalmers, an Edinburgh artist, is the only colourist who really followed Rembrandt in his method. He used sometimes to take sixty sittings to one portrait, and hardly ever finished any of his works, so fastidious was he; yet as far as he perfected he was very perfect as a colourist.

* * * * *

Typographical errors corrected by the etext transcriber:

thum-bhole=> thumb-hole {pg 68}

thes ame=> the same {pg 191}

Niccolo of Fuligno;=> by Niccolo of Fuligno; {pg 247}

No. 35, Titian; 'Mercury=> No. 35, by Titian; 'Mercury {pg 247}

Savage art, 102, 214-1=> Savage art, 102, 214-7 {pg index}