But it is a main part of the design of this Magazine to sympathise with what is truly great and good; to scout5 the miserable6 discouragements that beset7, especially in England, the upward path of men of high desert; and gladly to give honour where it is due, in right of Something achieved, tending to elevate the tastes and thoughts of all who contemplate8 it, and prove a lasting9 credit to the country of its birth.
Upon the walls of Westminster Hall, there hangs, at this time, such a Something. A composition of such marvellous beauty, of such infinite variety, of such masterly design, of such vigorous and skilful10 drawing, of such thought and fancy, of such surprising and delicate accuracy of detail, subserving one grand harmony, and one plain purpose, that it may be questioned whether the Fine Arts in any period of their history have known a more remarkable11 performance.
It is the cartoon of Daniel Maclise, “executed by order of the Commissioners12”, and called The Spirit of Chivalry13. It may be left an open question, whether or no this allegorical order on the part of the Commissioners, displays any uncommon14 felicity of idea. We rather think not; and are free to confess that we should like to have seen the Commissioners’ notion of the Spirit of Chivalry stated by themselves, in the first instance, on a sheet of foolscap, as the ground-plan of a model cartoon, with all the commissioned proportions of height and breadth. That the treatment of such an abstraction, for the purposes of Art, involves great and peculiar15 difficulties, no one who considers the subject for a moment can doubt. That nothing is easier to render it absurd and monstrous16, is a position as little capable of dispute by anybody who has beheld17 another cartoon on the same subject in the same Hall, representing a Ghoule in a state of raving18 madness, dancing on a Body in a very high wind, to the great astonishment19 of John the Baptist’s head, which is looking on from a corner.
Mr. Maclise’s handling of the subject has by this time sunk into the hearts of thousands upon thousands of people. It is familiar knowledge among all classes and conditions of men. It is the great feature within the Hall, and the constant topic of discourse20 elsewhere. It has awakened21 in the great body of society a new interest in, and a new perception and a new love of, Art. Students of Art have sat before it, hour by hour, perusing22 in its many forms of Beauty, lessons to delight the world, and raise themselves, its future teachers, in its better estimation. Eyes well accustomed to the glories of the Vatican, the galleries of Florence, all the mightiest23 works of art in Europe, have grown dim before it with the strong emotions it inspires; ignorant, unlettered, drudging men, mere24 hewers and drawers, have gathered in a knot about it (as at our back a week ago), and read it, in their homely25 language, as it were a Book. In minds, the roughest and the most refined, it has alike found quick response; and will, and must, so long as it shall hold together.
For how can it be otherwise? Look up, upon the pressing throng26 who strive to win distinction from the Guardian27 Genius of all noble deeds and honourable28 renown29 — a gentle Spirit, holding her fair state for their reward and recognition (do not be alarmed, my Lord Chamberlain; this is only in a picture); and say what young and ardent30 heart may not find one to beat in unison31 with it — beat high with generous aspiration32 like its own — in following their onward33 course, as it is traced by this great pencil! Is it the Love of Woman, in its truth and deep devotion, that inspires you? See it here! Is it Glory, as the world has learned to call the pomp and circumstance of arms? Behold34 it at the summit of its exaltation, with its mailed hand resting on the altar where the Spirit ministers. The Poet’s laurel-crown, which they who sit on thrones can neither twine35 or wither36 — is that the aim of thy ambition? It is there, upon his brow; it wreathes his stately forehead, as he walks apart and holds communion with himself. The Palmer and the Bard37 are there; no solitary38 wayfarers39, now; but two of a great company of pilgrims, climbing up to honour by the different paths that lead to the great end. And sure, amidst the gravity and beauty of them all — unseen in his own form, but shining in his spirit, out of every gallant40 shape and earnest thought — the Painter goes triumphant41!
Or say that you who look upon this work, be old, and bring to it grey hairs, a head bowed down, a mind on which the day of life has spent itself, and the calm evening closes gently in. Is its appeal to you confined to its presentment of the Past? Have you no share in this, but while the grace of youth and the strong resolve of maturity42 are yours to aid you? Look up again. Look up where the spirit is enthroned, and see about her, reverend men, whose task is done; whose struggle is no more; who cluster round her as her train and council; who have lost no share or interest in that great rising up and progress, which bears upward with it every means of human happiness, but, true in Autumn to the purposes of Spring, are there to stimulate43 the race who follow in their steps; to contemplate, with hearts grown serious, not cold or sad, the striving in which they once had part; to die in that great Presence, which is Truth and Bravery, and Mercy to the Weak, beyond all power of separation.
It would be idle to observe of this last group that, both in execution and idea, they are of the very highest order of Art, and wonderfully serve the purpose of the picture. There is not one among its three-and-twenty heads of which the same remark might not be made. Neither will we treat of great effects produced by means quite powerless in other hands for such an end, or of the prodigious44 force and colour which so separate this work from all the rest exhibited, that it would scarcely appear to be produced upon the same kind of surface by the same description of instrument. The bricks and stones and timbers of the Hall itself are not facts more indisputable than these.
It has been objected to this extraordinary work that it is too elaborately finished; too complete in its several parts. And Heaven knows, if it be judged in this respect by any standard in the Hall about it, it will find no parallel, nor anything approaching to it. But it is a design, intended to be afterwards copied and painted in fresco45; and certain finish must be had at last, if not at first. It is very well to take it for granted in a Cartoon that a series of cross-lines, almost as rough and apart as the lattice-work of a garden summerhouse, represents the texture46 of a human face; but the face cannot be painted so. A smear47 upon the paper may be understood, by virtue48 of the context gained from what surrounds it, to stand for a limb, or a body, or a cuirass, or a hat and feathers, or a flag, or a boot, or an angel. But when the time arrives for rendering49 these things in colours on a wall, they must be grappled with, and cannot be slurred50 over in this wise. Great misapprehension on this head seems to have been engendered51 in the minds of some observers by the famous cartoons of Raphael; but they forget that these were never intended as designs for fresco painting. They were designs for tapestry52-work, which is susceptible53 of only certain broad and general effects, as no one better knew than the Great Master. Utterly54 detestable and vile55 as the tapestry is, compared with the immortal56 Cartoons from which it was worked, it is impossible for any man who casts his eyes upon it where it hangs at Rome, not to see immediately the special adaptation of the drawings to that end, and for that purpose. The aim of these Cartoons being wholly different, Mr. Maclise’s object, if we understand it, was to show precisely57 what he meant to do, and knew he could perform, in fresco, on a wall. And here his meaning is; worked out; without a compromise of any difficulty; without the avoidance of any disconcerting truth; expressed in all its beauty, strength, and power.
To what end? To be perpetuated58 hereafter in the high place of the chief Senate-House of England? To be wrought59, as it were, into the very elements of which that Temple is composed; to co-endure with it, and still present, perhaps, some lingering traces of its ancient Beauty, when London shall have sunk into a grave of grass-grown ruin — and the whole circle of the Arts, another revolution of the mighty60 wheel completed, shall be wrecked61 and broken?
Let us hope so. We will contemplate no other possibility — at present.
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1
cant
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| n.斜穿，黑话，猛扔 | |
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refreshment
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| n.恢复，精神爽快，提神之事物；（复数）refreshments:点心，茶点 | |
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draught
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| n.拉，牵引，拖；一网（饮，吸，阵)；顿服药量，通风；v.起草，设计 | |
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unreasonably
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| adv. 不合理地 | |
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scout
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| n.童子军，侦察员；v.侦察，搜索 | |
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6
miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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beset
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| v.镶嵌；困扰，包围 | |
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contemplate
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| vt.盘算，计议；周密考虑；注视，凝视 | |
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lasting
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| adj.永久的，永恒的；vbl.持续，维持 | |
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10
skilful
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| (=skillful)adj.灵巧的，熟练的 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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commissioners
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| n.专员( commissioner的名词复数 )；长官；委员；政府部门的长官 | |
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13
chivalry
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| n.骑士气概，侠义；（男人）对女人彬彬有礼，献殷勤 | |
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14
uncommon
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| adj.罕见的，非凡的，不平常的 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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16
monstrous
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| adj.巨大的；恐怖的；可耻的，丢脸的 | |
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17
beheld
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| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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18
raving
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| adj.说胡话的；疯狂的，怒吼的；非常漂亮的；令人醉心[痴心]的v.胡言乱语(rave的现在分词)n.胡话；疯话adv.胡言乱语地；疯狂地 | |
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astonishment
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| n.惊奇，惊异 | |
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discourse
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| n.论文，演说；谈话；话语；vi.讲述，著述 | |
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21
awakened
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| v.（使）醒( awaken的过去式和过去分词 )；（使）觉醒；弄醒；（使）意识到 | |
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22
perusing
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| v.读（某篇文字）( peruse的现在分词 )；（尤指）细阅；审阅；匆匆读或心不在焉地浏览（某篇文字） | |
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23
mightiest
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| adj.趾高气扬( mighty的最高级 )；巨大的；强有力的；浩瀚的 | |
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24
mere
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| adj.纯粹的；仅仅，只不过 | |
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homely
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| adj.家常的，简朴的；不漂亮的 | |
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throng
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| n.人群，群众；v.拥挤，群集 | |
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guardian
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| n.监护人；守卫者，保护者 | |
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honourable
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| adj.可敬的；荣誉的，光荣的 | |
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renown
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| n.声誉，名望 | |
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ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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unison
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| n.步调一致，行动一致 | |
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aspiration
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| n.志向，志趣抱负；渴望；(语)送气音；吸出 | |
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onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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behold
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| v.看，注视，看到 | |
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twine
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| v.搓，织，编饰；（使）缠绕 | |
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wither
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| vt.使凋谢，使衰退，(用眼神气势等)使畏缩；vi.枯萎，衰退，消亡 | |
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bard
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| n.吟游诗人 | |
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solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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wayfarers
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| n.旅人，（尤指）徒步旅行者( wayfarer的名词复数 ) | |
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40
gallant
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| adj.英勇的，豪侠的；(向女人)献殷勤的 | |
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41
triumphant
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| adj.胜利的，成功的；狂欢的，喜悦的 | |
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42
maturity
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| n.成熟；完成；(支票、债券等)到期 | |
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43
stimulate
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| vt.刺激，使兴奋；激励，使…振奋 | |
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44
prodigious
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| adj.惊人的，奇妙的；异常的；巨大的；庞大的 | |
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45
fresco
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| n.壁画；vt.作壁画于 | |
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46
texture
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| n.(织物)质地；(材料)构造；结构；肌理 | |
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47
smear
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| v.涂抹；诽谤，玷污；n.污点；诽谤，污蔑 | |
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48
virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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49
rendering
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| n.表现，描写 | |
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50
slurred
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| 含糊地说出( slur的过去式和过去分词 )； 含糊地发…的声； 侮辱； 连唱 | |
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51
engendered
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| v.产生（某形势或状况），造成，引起( engender的过去式和过去分词 ) | |
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52
tapestry
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| n.挂毯，丰富多采的画面 | |
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53
susceptible
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| adj.过敏的，敏感的；易动感情的，易受感动的 | |
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54
utterly
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| adv.完全地，绝对地 | |
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55
vile
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| adj.卑鄙的，可耻的，邪恶的；坏透的 | |
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56
immortal
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| adj.不朽的；永生的，不死的；神的 | |
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57
precisely
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| adv.恰好，正好，精确地，细致地 | |
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58
perpetuated
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| vt.使永存（perpetuate的过去式与过去分词形式） | |
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59
wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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mighty
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| adj.强有力的；巨大的 | |
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wrecked
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| adj.失事的，遇难的 | |
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