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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 01:43:58 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 01:43:58 -0700 |
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diff --git a/21591-h/21591-h.htm b/21591-h/21591-h.htm new file mode 100644 index 0000000..4bac0bc --- /dev/null +++ b/21591-h/21591-h.htm @@ -0,0 +1,2908 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of The Harbours of England, by John Ruskin. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p {margin-top: .75em; text-align: justify; margin-bottom: .75em; text-indent: 1.5em;} + p.cont {text-indent:0;} + p.front {margin-top: 2em; margin-bottom: 2em; text-align: center; text-indent:0; clear: both; font-size: large; font-weight: bold;} + h1,h2,h3,h4 {text-align: center; clear: both;} + img {border-top-width: 0px; border-left-width: 0px; border-bottom-width: 0px; border-right-width: 0px;} + hr {width: 65%; margin: 2em auto 2em auto; clear: both;} + cite {text-align: right; font-style: normal; display: block;} + body {margin-left: 10%; margin-right: 10%;} + .pagenum {position: absolute; left: 92%; font-size: smaller; text-align: right;} + .ralign { position: absolute; right: 30%; top: auto;} + .blockquot{margin-left: 5%; margin-right: 10%;} + .bbox {border: solid 2px; padding: 1em;} + .center {text-align: center;} + .smcap {font-variant: small-caps;} + .u {text-decoration: underline;} + .sf {font-size: small;} + .caption {font-weight: bold;} + .lc {text-transform: lowercase;} + .figcenter {margin: auto; text-align: center;} + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + .figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; + margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} + .footnotes {border: dashed 1px; margin-top: 2em;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: 0.5em; font-size: .6em; text-decoration: none;} + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} + .poem span.i4 {display: block; margin-left: 4em; padding-left: 3em; text-indent: -3em;} + .poem span.i16 {display: block; margin-left: 16em; padding-left: 3em; text-indent: -3em;} + .poem span.i18 {display: block; margin-left: 18em; padding-left: 3em; text-indent: -3em;} + .poem span.i6 {display: block; margin-left: 6em; padding-left: 3em; text-indent: -3em;} + .poem span.i8 {display: block; margin-left: 8em; padding-left: 3em; text-indent: -3em;} + div.footnotes p {text-indent: 0;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Harbours of England, by John Ruskin + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Harbours of England + +Author: John Ruskin + +Illustrator: J. M. W. Turner + +Release Date: May 23, 2007 [EBook #21591] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE HARBOURS OF ENGLAND *** + + + + +Produced by Juliet Sutherland, LN Yaddanapudi and the +Online Distributed Proofreading Team at https://www.pgdp.net + + + + + + +</pre> + + + + + +<div class="center"><div class="bbox" style="width:25em; margin: auto;"> +<p class="front">Library Edition<br /><br /> + +THE COMPLETE WORKS OF JOHN RUSKIN<br /><br /><br /> + +<span class="sf">STONES OF VENICE<br /> +<span class="smcap">Volume III</span></span><br /> +GIOTTO<br /> +LECTURES ON ARCHITECTURE<br /> +HARBOURS OF ENGLAND<br /> +A JOY FOREVER<br /><br /><br /> + +NATIONAL LIBRARY ASSOCIATION<br /> +NEW YORK<br /> +CHICAGO</p> +</div></div> + + +<hr /> +<p class="center">THE COMPLETE WORKS<br /> +<span class="sf">OF</span><br /> +JOHN RUSKIN<br /><br /> + +VOLUME X<br /><br /><br /> + +<span class="sf">GIOTTO AND HIS WORKS<br /> +LECTURES ON ARCHITECTURE<br /> +THE HARBORS OF ENGLAND<br /> +POLITICAL ECONOMY OF ART<br /> +(<span class="smcap">A Joy Forever</span>)</span></p> + +<div class="bbox"> +<h4 style="margin-top:0;">Transcriber's Note</h4> + +<p class="cont">There was one instance each of 'sea-shell' and 'seashell'. +These have not been changed.</p> + +<p class="cont">The engravings have been shown as thumbnails 400 pixels wide. These +are hyperlinked to bigger images 1200 pixels wide.</p> +</div> +<hr /> + + +<h1>THE HARBORS OF ENGLAND.</h1> + + + +<hr /><p><span class='pagenum'><a name="Page_iii" id="Page_iii">[iii]</a></span></p> + + +<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2> +<div style="margin-left:20%"> +<ul style="list-style-type: none;"> +<li><span class="smcap lc ralign">PAGE</span><br /></li> +<li><a href="#EDITORS_PREFACE">EDITOR'S PREFACE.</a><span class="ralign"><a href="#Page_v">v</a></span></li> +<li><a href="#AUTHORS_ORIGINAL_PREFACE">AUTHOR'S ORIGINAL PREFACE.</a><span class="ralign"><a href="#Page_xi">xi</a></span></li> +<li><a href="#THE_HARBORS_OF_ENGLAND">THE HARBORS OF ENGLAND.</a><span class="ralign"><a href="#Page_1">1</a></span> +<ol style="list-style-type: upper-roman;"> +<li><a href="#I_DOVER"><span class="smcap">Dover</span></a><span class="ralign"><a href="#Page_34">34</a></span></li> +<li><a href="#II_RAMSGATE"><span class="smcap">Ramsgate</span></a><span class="ralign"><a href="#Page_36">36</a></span></li> +<li><a href="#III_PLYMOUTH"><span class="smcap">Plymouth</span></a><span class="ralign"><a href="#Page_38">38</a></span></li> +<li><a href="#IV_CATWATER"><span class="smcap">Catwater</span></a><span class="ralign"><a href="#Page_40">40</a></span></li> +<li><a href="#V_SHEERNESS"><span class="smcap">Sheerness</span></a><span class="ralign"><a href="#Page_41">41</a></span></li> +<li><a href="#VI_MARGATE"><span class="smcap">Margate</span></a><span class="ralign"><a href="#Page_43">43</a></span></li> +<li><a href="#VII_PORTSMOUTH"><span class="smcap">Portsmouth</span></a><span class="ralign"><a href="#Page_46">46</a></span></li> +<li><a href="#VIII_FALMOUTH"><span class="smcap">Falmouth</span></a><span class="ralign"><a href="#Page_49">49</a></span></li> +<li><a href="#IX_SIDMOUTH"><span class="smcap">Sidmouth</span></a><span class="ralign"><a href="#Page_51">51</a></span></li> +<li><a href="#X_WHITBY"><span class="smcap">Whitby</span></a><span class="ralign"><a href="#Page_52">52</a></span></li> +<li><a href="#XI_DEAL"><span class="smcap">Deal</span></a><span class="ralign"><a href="#Page_54">54</a></span></li> +<li><a href="#XII_SCARBOROUGH"><span class="smcap">Scarborough</span></a><span class="ralign"><a href="#Page_56">56</a></span></li> +</ol></li></ul></div> + + +<hr /><p><span class='pagenum'><a name="Page_v" id="Page_v">[v]</a></span></p> +<h2><a name="EDITORS_PREFACE" id="EDITORS_PREFACE"></a>EDITOR'S PREFACE.</h2> + + +<p>"Turner's <i>Harbors of England</i>," as it is generally called, +is a book which, for various reasons, has never received from +readers of Mr. Ruskin's writings the attention it deserves. +True, it has always been sought after by connoisseurs, and +collectors never fail with their eleven or twelve guineas whenever +a set of Artist's Proofs of the First Edition of 1856 +comes into the market. But to the General Reader the book +with its twelve exquisitely delicate mezzotints—four of which +Mr. Ruskin has declared to be among the very finest executed +by Turner from his marine subjects—is practically unknown.</p> + +<p>The primary reason for this neglect is not far to seek. +Since 1877 no new edition of the work has been published, +and thus it has gradually passed from public knowledge, +though still regarded with lively interest by those to whom +Mr. Ruskin's words—particularly words written in further +unfolding of the subtleties of Turner's art—at all times +appeal so strongly.</p> + +<p>In his own preface Mr. Ruskin has told us all that in 1856 +it was necessary to know of the genesis of the <i>Harbors</i>. That +account may now be supplemented with the following additional +facts. In 1826 Turner (in conjunction with Lupton, +the engraver) projected and commenced a serial publication +entitled <i>The Ports of England</i>. But both artist and engraver +lacked the opportunity required to carry the undertaking +to a successful conclusion, and three numbers only +were completed. Each of these contained two engravings. +Part I., introducing <i>Scarborough</i> and <i>Whitby</i>, duly appeared +in 1826; Part II., with <i>Dover</i> and <i>Ramsgate</i>, in 1827; and +<span class='pagenum'><a name="Page_vi" id="Page_vi">[vi]</a></span>in 1828 Part III., containing <i>Sheerness</i> and <i>Portsmouth</i>, +closed the series.<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> Twenty-eight years afterwards (that is, +in 1856, five years after Turner's death) these six plates, together +with six new ones, were published by Messrs. E. Gambart +& Co., at whose invitation Mr. Ruskin consented to write +the essay on Turner's marine painting which accompanied +them. The book, a handsome folio, appears to have been immediately +successful, for in the following year a second edition +was called for. This was a precise reprint of the 1856 +edition; but, unhappily, the delicate plates already began to +exhibit signs of wear. The copyright (which had not been +retained by Mr. Ruskin, but remained the property of Messrs. +E. Gambart & Co.) then passed to Messrs. Day & Son, who, +after producing the third edition of 1859, in turn disposed +of it to Mr. T. J. Allman. Allman issued a fourth edition +in 1872, and then parted with his rights to Messrs. Smith, +Elder & Co., who in 1877 brought out the fifth, and, until +now, last edition. Since that date the work has been out +of print, and has remained practically inaccessible to the +ordinary reader.</p> + +<p>It is matter for congratulation that at length means have +been found to bring <i>The Harbors of England</i> once more into +currency, and to issue the book through Mr. George Allen at +a price which will place it within the reach of the reading +public at large.</p> + +<p>The last edition of 1877, with its worn and "retouched" +plates,<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> was published at twenty-five shillings; less than a +<span class='pagenum'><a name="Page_vii" id="Page_vii">[vii]</a></span>third of that sum will suffice to procure a copy of this new +issue in which the prints (save for their reduced size) more +nearly approach the clearness and beauty of the originals of +1856 than any of the three editions which have immediately +preceded it.</p> + +<p>I have before me the following interesting letter addressed +by Mr. Ruskin's father to Mr. W. Smith Williams, for many +years literary adviser to Messrs. Smith, Elder & Co.:—</p> + +<div class="blockquot"><p><cite>"<span class="smcap">Chamouni</span>, <i>August 4th, 1856.</i></cite></p> + +<p>"<span class="smcap">My Dear Sir</span>,—I hear that in <i>The Athenæum</i> of 26th +July there is a good article on my son's <i>Harbors of England</i>, +and I should be greatly obliged by Mr. Gordon Smith sending +me that number.…</p> + +<p>"The history of this book, I believe, I told you. Gambart, +the French publisher and picture dealer, said some 18 +months ago that he was going to put out 12 Turner plates, +never published, of English Harbors, and he would give my +son two good Turner drawings for a few pages of text to +illustrate them.<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a> John agreed, and wrote the text, when +poorly in the spring of 1855, at Tunbridge Wells; and it +seems the work has just come out. It was in my opinion an +extremely well done thing, and more likely, as far as it went, +if not to be extremely popular, at least to be received without +cavil than anything he had written. If there is a very +favorable review in <i>The Athenæum</i> … it may tend to disarm +the critics, and partly influence opinion of his larger +works.…—With our united kind regards,</p> + +<p><cite><span style="margin-right:4em;">"Yours very truly,</span><br /> +"<span class="smcap">John James Ruskin</span>."</cite></p></div> + +<p><span class='pagenum'><a name="Page_viii" id="Page_viii">[viii]</a></span></p><p>In all save one particular the Text here given follows precisely +that of the previous issues. It has been the good fortune +of the present Editor to be able to restore a characteristic +passage suppressed from motives of prudence when the +work was originally planned.<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a> The proof-sheets of the first +edition, worked upon by Mr. Ruskin, were given by him to +his old nurse Anne.<a name="FNanchor_E_5" id="FNanchor_E_5"></a><a href="#Footnote_E_5" class="fnanchor">[E]</a> She, fortunately, carefully preserved +them, and in turn gave them to Mr. Allen, some ten years before +he became Mr. Ruskin's publisher. These proofs had +been submitted as they came from the press to Mr. W. H. +Harrison (well known to readers of <i>On the Old Road</i>, etc., +as "My First Editor"), who marked them freely with notes +and suggestions. To one passage he appears to have taken +so decided an objection that its author was prevailed upon +to delete it. But, whilst deferring thus to the judgment of +others, and consenting to remove a sentence which he doubtless +regarded with particular satisfaction as expressing a decided +opinion upon a favorite picture, Mr. Ruskin indulged +in one of those pleasantries which now and again we observe +in his informal letters, though seldom, if ever, in his serious +writings. In the margin, below the canceled passage, he +wrote boldly: "<i>Sacrificed to the Muse of Prudence. J. R.</i>"<a name="FNanchor_F_6" id="FNanchor_F_6"></a><a href="#Footnote_F_6" class="fnanchor">[F]</a></p> + +<p>That Mr. Harrison was justified in raising objection to this +"moderate estimate" of Turner's picture will, I think, be +readily allowed. In those days Mr. Ruskin's influence was, +comparatively speaking, small; and the expression of an +opinion which heaped praise upon the single painting of a +partially understood painter at the expense of a great and +popular institution would only have served to arouse opposition, +and possibly to attract ridicule. It is different to-day. +<span class='pagenum'><a name="Page_ix" id="Page_ix">[ix]</a></span>We know the keen enthusiasm of the author of <i>The Seven +Lamps</i>, and have seen again and again how he expresses +himself in terms of somewhat exaggerated admiration when +writing of a painter whom he appreciates, or a picture that he +loves. To us this enthusiasm is an attractive characteristic. +It has never been permitted to distort the vision or cloud the +critical faculty; and we follow the teaching of the Master +all the more closely because we feel his fervor, and know +how completely he becomes possessed with a subject which +appeals to his imagination or his heart. I have therefore not +scrupled to revive the words which he consented to immolate +at the shrine of Prudence.</p> + +<p>It is not my province here to enter into any criticism of +the pages which follow; but, for the benefit of those who are +not versed in the minutiæ of Shelleyan topics, a word may be +said regarding Mr. Ruskin's reference<a name="FNanchor_G_7" id="FNanchor_G_7"></a><a href="#Footnote_G_7" class="fnanchor">[G]</a> to the poet who met +his death in the Bay of Spezzia. The <i>Don Juan</i> was no +"traitorous" craft. Fuller and more authentic information +is to hand now than the meager facts at the disposal of a +writer in 1856; and we know that the greed of man, and not +the lack of sea-worthiness in his tiny vessel, caused Percy +Shelley to</p> + +<div class="poem"><div class="stanza"> +<span class="i0">" … Suffer a sea change<br /></span> +<span class="i0">Into something rich and strange."<br /></span> +</div></div> + +<p>There is, unhappily, no longer any room for doubt that the +<i>Don Juan</i> was willfully run down by a felucca whose crew +coveted the considerable sum of money they believed Byron +to have placed on board, and cared nothing for the sacrifice of +human life in their eagerness to seize the gold.</p> + +<p>The twelve engravings, to which reference has already +been made, have been reproduced by the photogravure process +from a selected set of early examples; and, in addition, the +plates so prepared have been carefully worked upon by Mr. +<span class='pagenum'><a name="Page_x" id="Page_x">[x]</a></span>Allen himself. It will thus be apparent that everything +possible has been done to produce a worthy edition of a +worthy book, and to place in the hands of the public what to +the present generation of readers is tantamount to a new work +from a pen which—alas!—has now for so long a time been +still.</p> + +<p><cite>THOMAS J. WISE.</cite></p> + + +<hr /><p><span class='pagenum'><a name="Page_xi" id="Page_xi">[xi]</a></span></p> +<h2><a name="AUTHORS_ORIGINAL_PREFACE" id="AUTHORS_ORIGINAL_PREFACE"></a>AUTHOR'S ORIGINAL PREFACE.</h2> + + +<p>Among the many peculiarities which distinguished the +late J. M. W. Turner from other landscape painters, not +the least notable, in my apprehension, were his earnest desire +to arrange his works in connected groups, and his evident +intention, with respect to each drawing, that it should be +considered as expressing part of a continuous system of +thought. The practical result of this feeling was that he +commenced many series of drawings,—and, if any accident +interfered with the continuation of the work, hastily concluded +them,—under titles representing rather the relation +which the executed designs bore to the materials accumulated +in his own mind, than the position which they could justifiably +claim when contemplated by others. The <i>River Scenery</i> +was closed without a single drawing of a rapidly running +stream; and the prints of his annual tours were assembled, +under the title of the <i>Rivers of France</i>, without including +a single illustration either of the Rhone or the Garonne.</p> + +<p>The title under which the following plates are now presented +to the public, is retained merely out of respect to this +habit of Turner's. Under that title he commenced the publication, +and executed the vignette for its title-page, intending +doubtless to make it worthy of taking rank with, if not +far above, the consistent and extensive series of the <i>Southern +Coast</i>, executed in his earlier years. But procrastination and +accident equally interfered with his purpose. The excellent +engraver Mr. Lupton, in co-operation with whom the work +was undertaken, was unfortunately also a man of genius, and +seems to have been just as capricious as Turner himself in the +application of his powers to the matter in hand. Had one +<span class='pagenum'><a name="Page_xii" id="Page_xii">[xii]</a></span>of the parties in the arrangement been a mere plodding man +of business, the work would have proceeded; but between the +two men of talent it came very naturally to a stand. They +petted each other by reciprocal indulgence of delay; and at +Turner's death, the series, so magnificently announced under +the title of the <i>Harbors of England</i>, consisted only of twelve +plates, all the less worthy of their high-sounding title in that, +while they included illustrations of some of the least important +of the watering-places, they did not include any illustration +whatever of such harbors of England as Liverpool, +Shields, Yarmouth, or Bristol. Such as they were, however, +I was requested to undertake their illustration. As the offer +was made at a moment when much nonsense, in various +forms, was being written about Turner and his works; and +among the twelve plates there were four<a name="FNanchor_H_8" id="FNanchor_H_8"></a><a href="#Footnote_H_8" class="fnanchor">[H]</a> which I considered +among the very finest that had been executed from his marine +subjects, I accepted the trust; partly to prevent the really +valuable series of engravings from being treated with injustice, +and partly because there were several features in them +by which I could render more intelligible some remarks I +wished to make on Turner's marine painting in general.</p> + +<p>These remarks, therefore, I have thrown together, in a +connected form; less with a view to the illustration of these +particular plates, than of the general system of ship-painting +which was characteristic of the great artist. I have afterwards +separately noted the points which seemed to me most +deserving of attention in the plates themselves.</p> + +<p>Of archæological information the reader will find none. +The designs themselves are, in most instances, little more +than spirited sea-pieces, with such indistinct suggestion of +local features in the distance as may justify the name given +to the subject; but even when, as in the case of the Dover and +Portsmouth, there is something approaching topographical +detail, I have not considered it necessary to lead the reader +<span class='pagenum'><a name="Page_xiii" id="Page_xiii">[xiii]</a></span>into inquiries which certainly Turner himself never thought +of; nor do I suppose it would materially add to the interest +of these cloud distances or rolling seas, if I had the time—which +I have not—to collect the most complete information +respecting the raising of Prospect Rows, and the establishment +of circulating libraries.</p> + +<p><span class="smcap">Denmark Hill.</span><br /> +<span style="margin-left: 1.5em;">[1856.]</span></p> + + +<hr /><p><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span></p> +<h2><a name="THE_HARBORS_OF_ENGLAND" id="THE_HARBORS_OF_ENGLAND"></a>THE HARBORS OF ENGLAND.</h2> + + +<p>Of all things, living or lifeless, upon this strange earth, +there is but one which, having reached the mid-term of appointed +human endurance on it, I still regard with unmitigated +amazement. I know, indeed, that all around me is +wonderful—but I cannot answer it with wonder:—a dark +veil, with the foolish words, <span class="smcap lc">NATURE OF THINGS</span>, upon it, +casts its deadening folds between me and their dazzling +strangeness. Flowers open, and stars rise, and it seems to +me they could have done no less. The mystery of distant +mountain-blue only makes me reflect that the earth is of necessity +mountainous;—the sea-wave breaks at my feet, and I +do not see how it should have remained unbroken. But one +object there is still, which I never pass without the renewed +wonder of childhood, and that is the bow of a Boat. Not +of a racing-wherry, or revenue cutter, or clipper yacht; but +the blunt head of a common, bluff, undecked sea-boat, lying +aside in its furrow of beach sand. The sum of Navigation is +in that. You may magnify it or decorate as you will: you do +not add to the wonder of it. Lengthen it into hatchet-like +edge of iron,—strengthen it with complex tracery of ribs of +oak,—carve it and gild it till a column of light moves beneath +it on the sea,—you have made no more of it than it was at +first. That rude simplicity of bent plank, that can breast its +way through the death that is in the deep sea, has in it the +soul of shipping. Beyond this, we may have more work, more +men, more money; we cannot have more miracle.</p> + +<p>For there is, first, an infinite strangeness in the perfection +<span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span>of the thing, as work of human hands. I know nothing else +that man does, which is perfect, but that. All his other +doings have some sign of weakness, affectation, or ignorance +in them. They are overfinished or underfinished; they do not +quite answer their end, or they show a mean vanity in answering +it too well.</p> + +<p>But the boat's bow is naïvely perfect: complete without an +effort. The man who made it knew not he was making anything +beautiful, as he bent its planks into those mysterious, +ever-changing curves. It grows under his hand into the image +of a sea-shell; the seal, as it were, of the flowing of the great +tides and streams of ocean stamped on its delicate rounding. +He leaves it when all is done, without a boast. It is simple +work, but it will keep out water. And every plank thence-forward +is a Fate, and has men's lives wreathed in the knots +of it, as the cloth-yard shaft had their deaths in its plumes.</p> + +<p>Then, also, it is wonderful on account of the greatness of +the thing accomplished. No other work of human hands ever +gained so much. Steam-engines and telegraphs indeed help +us to fetch, and carry, and talk; they lift weights for us, +and bring messages, with less trouble than would have been +needed otherwise; this saving of trouble, however, does not +constitute a new faculty, it only enhances the powers we +already possess. But in that bow of the boat is the gift of +another world. Without it, what prison wall would be so +strong as that "white and wailing fringe" of sea. What +maimed creatures were we all, chained to our rocks, Andromeda-like, +or wandering by the endless shores; wasting our +incommunicable strength, and pining in hopeless watch of +unconquerable waves? The nails that fasten together the +planks of the boat's bow are the rivets of the fellowship of the +world. Their iron does more than draw lightning out of +heaven, it leads love round the earth.</p> + +<p>Then also, it is wonderful on account of the greatness of +the enemy that it does battle with. To lift dead weight; to +overcome length of languid space; to multiply or systematize +a given force; this we may see done by the bar, or beam, or +<span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span>wheel, without wonder. But to war with that living fury of +waters, to bare its breast, moment after moment, against the +unwearied enmity of ocean,—the subtle, fitful, implacable +smiting of the black waves, provoking each other on, endlessly, +all the infinite march of the Atlantic rolling on behind them +to their help,—and still to strike them back into a wreath of +smoke and futile foam, and win its way against them, and +keep its charge of life from them;—does any other soulless +thing do as much as this?</p> + +<p>I should not have talked of this feeling of mine about a +boat, if I had thought it was mine only; but I believe it to be +common to all of us who are not seamen. With the seaman, +wonder changes into fellowship and close affection; but to all +landsmen, from youth upwards, the boat remains a piece of +enchantment; at least unless we entangle our vanity in it, +and refine it away into mere lath, giving up all its protective +nobleness for pace. With those in whose eyes the perfection +of a boat is swift fragility, I have no sympathy. The glory +of a boat is, first its steadiness of poise—its assured standing +on the clear softness of the abyss; and, after that, so much +capacity of progress by oar or sail as shall be consistent with +this defiance of the treachery of the sea. And, this being +understood, it is very notable how commonly the poets, creating +for themselves an ideal of motion, fasten upon the charm +of a boat. They do not usually express any desire for wings, +or, if they do, it is only in some vague and half-unintended +phrase, such as "flit or soar," involving wingedness. Seriously, +they are evidently content to let the wings belong to +Horse, or Muse, or Angel, rather than to themselves; but they +all, somehow or other, express an honest wish for a Spiritual +Boat. I will not dwell on poor Shelley's paper navies, and +seas of quicksilver, lest we should begin to think evil of boats +in general because of that traitorous one in Spezzia Bay; but +it is a triumph to find the pastorally minded Wordsworth +imagine no other way of visiting the stars than in a boat "no +bigger than the crescent moon";<a name="FNanchor_I_9" id="FNanchor_I_9"></a><a href="#Footnote_I_9" class="fnanchor">[I]</a> and to find Tennyson—although +<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span>his boating, in an ordinary way, has a very marshy +and punt-like character—at last, in his highest inspiration, +enter in where the wind began "to sweep a music out of sheet +and shroud."<a name="FNanchor_J_10" id="FNanchor_J_10"></a><a href="#Footnote_J_10" class="fnanchor">[J]</a> But the chief triumph of all is in Dante. He +had known all manner of traveling; had been borne through +vacancy on the shoulders of chimeras, and lifted through +upper heaven in the grasp of its spirits; but yet I do not +remember that he ever expresses any positive <i>wish</i> on such +matters, except for a boat.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Guido, I wish that Lapo, thou, and I,<br /></span> +<span class="i2">Led by some strong enchantment, might ascend<br /></span> +<span class="i2">A magic ship, whose charmed sails should fly<br /></span> +<span class="i2">With winds at will where'er our thoughts might wend,<br /></span> +<span class="i0">So that no change nor any evil chance<br /></span> +<span class="i2">Should mar our joyous voyage; but it might be<br /></span> +<span class="i2">That even satiety should still enhance<br /></span> +<span class="i2">Between our souls their strict community:<br /></span> +<span class="i0">And that the bounteous wizard then would place<br /></span> +<span class="i2">Vanna and Bice, and our Lapo's love,<br /></span> +<span class="i2">Companions of our wandering, and would grace<br /></span> +<span class="i0">With passionate talk, wherever we might rove,<br /></span> +<span class="i0">Our time, and each were as content and free<br /></span> +<span class="i0">As I believe that thou and I should be."<br /></span> +</div></div> + +<p class="cont">And of all the descriptions of motion in the <i>Divina Commedia</i>, +I do not think there is another quite so fine as that in +which Dante has glorified the old fable of Charon by giving +a boat also to the bright sea which surrounds the mountain +of Purgatory, bearing the redeemed souls to their place of +trial; only an angel is now the pilot, and there is no stroke of +laboring oar, for his wings are the sails.</p> + +<div class="poem"><div class="stanza"> +<span class="i8">"My preceptor silent yet<br /></span> +<span class="i0">Stood, while the brightness that we first discerned<br /></span> +<span class="i0">Opened the form of wings: then, when he knew<br /></span> +<span class="i0">The pilot, cried aloud, 'Down, down; bend low<br /></span> +<span class="i0">Thy knees; behold God's angel: fold thy hands:<br /></span> +<span class="i0">Now shalt thou see true ministers indeed.<br /></span> +<span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span><span class="i0">Lo! how all human means he sets at nought;<br /></span> +<span class="i0">So that nor oar he needs, nor other sail<br /></span> +<span class="i0">Except his wings, between such distant shores.<br /></span> +<span class="i0">Lo! how straight up to heaven he holds them reared,<br /></span> +<span class="i0">Winnowing the air with those eternal plumes,<br /></span> +<span class="i0">That not like mortal hairs fall off or change.'<br /></span> +</div><div class="stanza"> +<span class="i2">"As more and more toward us came, more bright<br /></span> +<span class="i0">Appeared the bird of God, nor could the eye<br /></span> +<span class="i0">Endure his splendor near: I mine bent down.<br /></span> +<span class="i0">He drove ashore in a small bark so swift<br /></span> +<span class="i0">And light, that in its course no wave it drank.<br /></span> +<span class="i0">The heavenly steersman at the prow was seen,<br /></span> +<span class="i0">Visibly written blessed in his looks.<br /></span> +<span class="i0">Within, a hundred spirits and more there sat."<br /></span> +</div></div> + +<p>I have given this passage at length, because it seems to me +that Dante's most inventive adaptation of the fable of Charon +to Heaven has not been regarded with the interest that it +really deserves; and because, also, it is a description that +should be remembered by every traveler when first he sees +the white fork of the felucca sail shining on the Southern Sea. +Not that Dante had ever seen such sails;<a name="FNanchor_K_11" id="FNanchor_K_11"></a><a href="#Footnote_K_11" class="fnanchor">[K]</a> his thought was +utterly irrespective of the form of canvas in any ship of the +period; but it is well to be able to attach this happy image to +those felucca sails, as they now float white and soft above the +blue glowing of the bays of Adria. Nor are other images +wanting in them. Seen far away on the horizon, the Neapolitan +felucca has all the aspect of some strange bird stooping +out of the air and just striking the water with its claws; while +the Venetian, when its painted sails are at full swell in +sunshine, is as beautiful as a butterfly with its wings half-closed.<a name="FNanchor_L_12" id="FNanchor_L_12"></a><a href="#Footnote_L_12" class="fnanchor">[L]</a> +There is something also in them that might remind +<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span>us of the variegated and spotted angel wings of Orcagna, +only the Venetian sail never looks majestic; it is too quaint +and strange, yet with no peacock's pride or vulgar gayety,—nothing +of Milton's Dalilah:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"So bedecked, ornate and gay<br /></span> +<span class="i0">Like a stately ship<br /></span> +<span class="i0">Of Tarsus, bound for the Isles<br /></span> +<span class="i0">Of Javan or Gadire<br /></span> +<span class="i0">With all her bravery on and tackle trim,<br /></span> +<span class="i0">Sails filled and streamers waving."<br /></span> +</div></div> + +<p class="cont">That description could only have been written in a time of +vulgar women and vulgar vessels. The utmost vanity of dress +in a woman of the fourteenth century would have given no +image of "sails filled or streamers waving"; nor does the +look or action of a really "stately" ship ever suggest any +image of the motion of a weak or vain woman. The beauties +of the Court of Charles II., and the gilded galleys of the +Thames, might fitly be compared; but the pomp of the Venetian +fisher-boat is like neither. The sail seems dyed in its +fullness by the sunshine, as the rainbow dyes a cloud; the +rich stains upon it fade and reappear, as its folds swell or +fall; worn with the Adrian storms, its rough woof has a kind +of noble dimness upon it, and its colors seem as grave, inherent, +and free from vanity as the spots of the leopard, or +veins of the seashell.</p> + +<p>Yet, in speaking of poets' love of boats, I ought to have +limited the love to <i>modern</i> poets; Dante, in this respect, as +in nearly every other, being far in advance of his age. It +is not often that I congratulate myself upon the days in which +I happen to live; but I do so in this respect, that, compared +with every other period of the world, this nineteenth century +(or rather, the period between 1750 and 1850) may not improperly +be called the Age of Boats; while the classic and +chivalric times, in which boats were partly dreaded, partly +despised, may respectively be characterized, with regard to +their means of locomotion, as the Age of Chariots, and the +Age of Horses.</p> +<p><span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span></p> +<p>For, whatever perfection and costliness there may be in +the present decorations, harnessing, and horsing of any English +or Parisian wheel equipage, I apprehend that we can +from none of them form any high ideal of wheel conveyance; +and that unless we had seen an Egyptian king bending his +bow with his horses at the gallop, or a Greek knight leaning +with his poised lance over the shoulder of his charioteer, we +have no right to consider ourselves as thoroughly knowing +what the word "chariot," in its noblest acceptation, means.</p> + +<p>So, also, though much chivalry is yet left in us, and we +English still know several things about horses, I believe that +if we had seen Charlemagne and Roland ride out hunting +from Aix, or Cœur de Lion trot into camp on a sunny evening +at Ascalon, or a Florentine lady canter down the Val +d'Arno in Dante's time, with her hawk on her wrist, we +should have had some other ideas even about horses than the +best we can have now. But most assuredly, nothing that ever +swung at the quay sides of Carthage, or glowed with crusaders' +shields above the bays of Syria, could give to any contemporary +human creature such an idea of the meaning of the +word Boat, as may be now gained by any mortal happy +enough to behold as much as a Newcastle collier beating +against the wind. In the classical period, indeed, there was +some importance given to shipping as the means of locking a +battle-field together on the waves; but in the chivalric period, +the whole mind of man is withdrawn from the sea, regarding +it merely as a treacherous impediment, over which it was +necessary sometimes to find conveyance, but from which the +thoughts were always turned impatiently, fixing themselves +in green fields, and pleasures that may be enjoyed by land—the +very supremacy of the horse necessitating the scorn of +the sea, which would not be trodden by hoofs.</p> + +<p>It is very interesting to note how repugnant every oceanic +idea appears to be to the whole nature of our principal +English mediæval poet, Chaucer. Read first the Man of +Lawe's Tale, in which the Lady Constance is continually +floated up and down the Mediterranean, and the German +<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span>Ocean, in a ship by herself; carried from Syria all the way +to Northumberland, and there wrecked upon the coast; thence +yet again driven up and down among the waves for five years, +she and her child; and yet, all this while, Chaucer does not +let fall a single word descriptive of the sea, or express any +emotion whatever about it, or about the ship. He simply +tells us the lady sailed here and was wrecked there; but +neither he nor his audience appear to be capable of receiving +any sensation, but one of simple aversion, from waves, ships, +or sands. Compare with his absolutely apathetic recital, the +description by a modern poet of the sailing of a vessel, charged +with the fate of another Constance:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"It curled not Tweed alone, that breeze—<br /></span> +<span class="i0">For far upon Northumbrian seas<br /></span> +<span class="i2">It freshly blew, and strong;<br /></span> +<span class="i0">Where from high Whitby's cloistered pile,<br /></span> +<span class="i0">Bound to St. Cuthbert's holy isle,<br /></span> +<span class="i2">It bore a bark along.<br /></span> +<span class="i0">Upon the gale she stooped her side,<br /></span> +<span class="i0">And bounded o'er the swelling tide<br /></span> +<span class="i2">As she were dancing home.<br /></span> +<span class="i0">The merry seamen laughed to see<br /></span> +<span class="i0">Their gallant ship so lustily<br /></span> +<span class="i2">Furrow the green sea foam."<br /></span> +</div></div> + +<p>Now just as Scott enjoys this sea breeze, so does Chaucer +the soft air of the woods; the moment the older poet lands, +he is himself again, his poverty of language in speaking of +the ship is not because he despises description, but because +he has nothing to describe. Hear him upon the ground in +Spring:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"These woodes else recoveren greene,<br /></span> +<span class="i0">That drie in winter ben to sene,<br /></span> +<span class="i0">And the erth waxeth proud withall,<br /></span> +<span class="i0">For sweet dewes that on it fall,<br /></span> +<span class="i0">And the poore estate forget,<br /></span> +<span class="i0">In which that winter had it set:<br /></span> +<span class="i0">And then becomes the ground so proude,<br /></span> +<span class="i0">That it wol have a newe shroude,<br /></span> +<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span><span class="i0">And maketh so queint his robe and faire,<br /></span> +<span class="i0">That it had hewes an hundred paire,<br /></span> +<span class="i0">Of grasse and floures, of Inde and Pers,<br /></span> +<span class="i0">And many hewes full divers:<br /></span> +<span class="i0">That is the robe I mean ywis<br /></span> +<span class="i0">Through which the ground to praisen is."<br /></span> +</div></div> + +<p>In like manner, wherever throughout his poems we find +Chaucer enthusiastic, it is on a sunny day in the "good green-wood," +but the slightest approach to the sea-shore makes him +shiver; and his antipathy finds at last positive expression, and +becomes the principal foundation of the Frankeleine's Tale, +in which a lady, waiting for her husband's return in a castle +by the sea, behaves and expresses herself as follows:—</p> + +<div class="poem"><div class="stanza"> +<span class="i2">"Another time wold she sit and thinke,<br /></span> +<span class="i0">And cast her eyen dounward fro the brinke;<br /></span> +<span class="i0">But whan she saw the grisly rockes blake,<br /></span> +<span class="i0">For veray fere so wold hire herte quake<br /></span> +<span class="i0">That on hire feet she might hire not sustene<br /></span> +<span class="i0">Than wold she sit adoun upon the grene,<br /></span> +<span class="i0">And pitously into the see behold,<br /></span> +<span class="i0">And say right thus, with careful sighes cold.<br /></span> +<span class="i2">'Eterne God, that thurgh thy purveance<br /></span> +<span class="i0">Ledest this world by certain governance,<br /></span> +<span class="i0">In idel, as men sain, ye nothing make.<br /></span> +<span class="i0"><i>But, lord, thise grisly fendly rockes blake,</i><br /></span> +<span class="i0"><i>That semen rather a foule confusion</i><br /></span> +<span class="i0"><i>Of werk, than any faire creation</i><br /></span> +<span class="i0">Of swiche a parfit wise God and stable,<br /></span> +<span class="i0">Why han ye wrought this werk unresonable?'"<br /></span> +</div></div> + +<p class="cont">The desire to have the rocks out of her way is indeed severely +punished in the sequel of the tale; but it is not the less +characteristic of the age, and well worth meditating upon, +in comparison with the feelings of an unsophisticated modern +French or English girl among the black rocks of Dieppe or +Ramsgate.</p> + +<p>On the other hand, much might be said about that peculiar +love of <i>green fields and birds</i> in the Middle Ages; and of all +with which it is connected, purity and health in manners and +<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span>heart, as opposed to the too frequent condition of the modern +mind—</p> + +<div class="poem"><div class="stanza"> +<span class="i2">"As for the birds in the thicket,<br /></span> +<span class="i0">Thrush or ousel in leafy niche,<br /></span> +<span class="i0">Linnet or finch—she was far too rich<br /></span> +<span class="i0">To care for a morning concert to which<br /></span> +<span class="i2">She was welcome, without a ticket."<a name="FNanchor_M_13" id="FNanchor_M_13"></a><a href="#Footnote_M_13" class="fnanchor">[M]</a><br /></span> +</div></div> + +<p>But this would lead us far afield, and the main fact I have +to point out to the reader is the transition of human grace and +strength from the exercises of the land to those of the sea in +the course of the last three centuries.</p> + +<p>Down to Elizabeth's time chivalry lasted; and grace of +dress and mien, and all else that was connected with chivalry. +Then came the ages which, when they have taken their due +place in the depths of the past, will be, by a wise and clear-sighted +futurity, perhaps well comprehended under a common +name, as the ages of Starch; periods of general stiffening and +bluish-whitening, with a prevailing washerwoman's taste in +everything; involving a change of steel armor into cambric; +of natural hair into peruke; of natural walking into that +which will disarrange no wristbands; of plain language into +quips and embroideries; and of human life in general, from +a green race-course, where to be defeated was at worst only to +fall behind and recover breath, into a slippery pole, to be +climbed with toil and contortion, and in clinging to which, +each man's foot is on his neighbor's head.</p> + +<p>But, meanwhile, the marine deities were incorruptible. It +was not possible to starch the sea; and precisely as the stiffness +fastened upon men, it vanished from ships. What had once +been a mere raft, with rows of formal benches, pushed along +by laborious flap of oars, and with infinite fluttering of flags +and swelling of poops above, gradually began to lean more +heavily into the deep water, to sustain a gloomy weight of +guns, to draw back its spider-like feebleness of limb, and +open its bosom to the wind, and finally darkened down from +<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span>all its painted vanities into the long, low hull, familiar with +the overflying foam; that has no other pride but in its daily +duty and victory; while, through all these changes, it gained +continually in grace, strength, audacity, and beauty, until +at last it has reached such a pitch of all these, that there is +not, except the very loveliest creatures of the living world, +anything in nature so absolutely notable, bewitching, and, +according to its means and measure, heart-occupying, as a +well-handled ship under sail in a stormy day. Any ship, +from lowest to proudest, has due place in that architecture +of the sea; beautiful, not so much in this or that piece +of it, as in the unity of all, from cottage to cathedral, into +their great buoyant dynasty. Yet, among them, the fisher-boat, +corresponding to the cottage on the land (only far more +sublime than a cottage ever can be), is on the whole the thing +most venerable. I doubt if ever academic grove were half +so fit for profitable meditation as the little strip of shingle +between two black, steep, overhanging sides of stranded fishing-boats. +The clear, heavy water-edge of ocean rising and +falling close to their bows, in that unaccountable way which +the sea has always in calm weather, turning the pebbles over +and over as if with a rake, to look for something, and then +stopping a moment down at the bottom of the bank, and coming +up again with a little run and clash, throwing a foot's +depth of salt crystal in an instant between you and the round +stone you were going to take in your hand; sighing, all the +while, as if it would infinitely rather be doing something else. +And the dark flanks of the fishing-boats all aslope above, in +their shining quietness, hot in the morning sun, rusty and +seamed with square patches of plank nailed over their rents; +just rough enough to let the little flat-footed fisher-children +haul or twist themselves up to the gunwales, and drop back +again along some stray rope; just round enough to remind us, +in their broad and gradual curves, of the sweep of the green +surges they know so well, and of the hours when those old +sides of seared timber, all ashine with the sea, plunge and +dip into the deep green purity of the mounded waves more +<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span>joyfully than a deer lies down among the grass of spring, the +soft white cloud of foam opening momentarily at the bows, +and fading or flying high into the breeze where the sea-gulls +toss and shriek,—the joy and beauty of it, all the while, so +mingled with the sense of unfathomable danger, and the +human effort and sorrow going on perpetually from age to +age, waves rolling forever, and winds moaning forever, and +faithful hearts trusting and sickening forever, and brave lives +dashed away about the rattling beach like weeds forever; +and still at the helm of every lonely boat, through starless +night and hopeless dawn, His hand, who spread the fisher's +net over the dust of the Sidonian palaces, and gave into the +fisher's hand the keys of the kingdom of heaven.</p> + +<p>Next after the fishing-boat—which, as I said, in the architecture +of the sea represents the cottage, more especially the +pastoral or agricultural cottage, watchful over some pathless +domain of moorland or arable, as the fishing-boat swims, +humbly in the midst of the broad green fields and hills of +ocean, out of which it has to win such fruit as they can give, +and to compass with net or drag such flocks as it may find,—next +to this ocean-cottage ranks in interest, it seems to me, +the small, over-wrought, under-crewed, ill-caulked merchant +brig or schooner; the kind of ship which first shows its couple +of thin masts over the low fields or marshes as we near any +third-rate sea-port; and which is sure somewhere to stud the +great space of glittering water, seen from any sea-cliff, with +its four or five square-set sails. Of the larger and more +polite tribes of merchant vessels, three-masted, and passenger-carrying, +I have nothing to say, feeling in general little +sympathy with people who want to <i>go</i> anywhere; nor caring +much about anything, which in the essence of it expresses a +desire to get to other sides of the world; but only for homely +and stay-at-home ships, that live their life and die their death +about English rocks. Neither have I any interest in the +higher branches of commerce, such as traffic with spice +islands, and porterage of painted tea-chests or carved ivory; +for all this seems to me to fall under the head of commerce +<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span>of the drawing-room; costly, but not venerable. I respect in +the merchant service only those ships that carry coals, herrings, +salt, timber, iron, and such other commodities, and that +have disagreeable odor, and unwashed decks. But there are +few things more impressive to me than one of these ships +lying up against some lonely quay in a black sea-fog, with +the furrow traced under its tawny keel far in the harbor slime. +The noble misery that there is in it, the might of its rent and +strained unseemliness, its wave-worn melancholy, resting there +for a little while in the comfortless ebb, unpitied, and claiming +no pity; still less honored, least of all conscious of any +claim to honor; casting and craning by due balance whatever +is in its hold up to the pier, in quiet truth of time; spinning +of wheel, and slackening of rope, and swinging of spade, in +as accurate cadence as a waltz music; one or two of its crew, +perhaps, away forward, and a hungry boy and yelping dog +eagerly interested in something from which a blue dull +smoke rises out of pot or pan; but dark-browed and silent, +their limbs slack, like the ropes above them, entangled as +they are in those inextricable meshes about the patched +knots and heaps of ill-reefed sable sail. What a majestic +sense of service in all that languor! the rest of human limbs +and hearts, at utter need, not in sweet meadows or soft air, +but in harbor slime and biting fog; so drawing their breath +once more, to go out again, without lament, from between the +two skeletons of pier-heads, vocal with wash of under wave, +into the gray troughs of tumbling brine; there, as they can, +with slacked rope, and patched sail, and leaky hull, again to +roll and stagger far away amidst the wind and salt sleet, +from dawn to dusk and dusk to dawn, winning day by day +their daily bread; and for last reward, when their old hands, +on some winter night, lose feeling along the frozen ropes, +and their old eyes miss mark of the lighthouse quenched in +foam, the so-long impossible Rest, that shall hunger no more, +neither thirst any more,—their eyes and mouths filled with +the brown sea-sand.</p> + +<p>After these most venerable, to my mind, of all ships, properly +<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span>so styled, I find nothing of comparable interest in any +floating fabric until we come to the great achievement of the +19th century. For one thing this century will in after ages +be considered to have done in a superb manner, and one thing, +I think, only. It has not distinguished itself in political +spheres; still less in artistical. It has produced no golden age +by its Reason; neither does it appear eminent for the constancy +of its Faith. Its telescopes and telegraphs would be +creditable to it, if it had not in their pursuit forgotten in +great part how to see clearly with its eyes, and to talk honestly +with its tongue. Its natural history might have been creditable +to it also, if it could have conquered its habit of considering +natural history to be mainly the art of writing Latin +names on white tickets. But, as it is, none of these things will +be hereafter considered to have been got on with by us as well +as might be; whereas it will always be said of us, with unabated +reverence,</p> + +<p class="center smcap lc">"THEY BUILT SHIPS OF THE LINE."</p> + +<p>Take it all in all, a Ship of the Line is the most honorable +thing that man, as a gregarious animal, has ever produced. +By himself, unhelped, he can do better things than ships +of the line; he can make poems and pictures, and other such +concentrations of what is best in him. But as a being living +in flocks, and hammering out, with alternate strokes and +mutual agreement, what is necessary for him in those flocks, +to get or produce, the ship of the line is his first work. Into +that he has put as much of his human patience, common +sense, forethought, experimental philosophy, self-control, +habits of order and obedience, thoroughly wrought handwork, +defiance of brute elements, careless courage, careful patriotism, +and calm expectation of the judgment of God, as can well +be put into a space of 300 feet long by 80 broad. And I am +thankful to have lived in an age when I could see this thing +so done.</p> + +<p>Considering, then, our shipping, under the three principal +<span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span>types of fishing-boat, collier, and ship of the line, as the great +glory of this age; and the "New Forest" of mast and yard +that follows the windings of the Thames, to be, take it all +in all, a more majestic scene, I don't say merely than any of +our streets or palaces as they now are, but even than the best +that streets and palaces can generally be; it has often been a +matter of serious thought to me how far this chiefly substantial +thing done by the nation ought to be represented by +the art of the nation; how far our great artists ought seriously +to devote themselves to such perfect painting of our ships as +should reveal to later generations—lost perhaps in clouds of +steam and floating troughs of ashes—the aspect of an ancient +ship of battle under sail.</p> + +<p>To which, I fear, the answer must be sternly this: That +no great art ever was, or can be, employed in the careful +imitation of the work of man as its principal subject. That +is to say, art will not bear to be reduplicated. A ship is a +noble thing, and a cathedral a noble thing, but a painted ship +or a painted cathedral is not a noble thing. Art which reduplicates +art is necessarily second-rate art. I know no principle +more irrefragably authoritative than that which I had long +ago occasion to express: "All noble art is the expression of +man's delight in God's work; not in his own."</p> + +<p>"How!" it will be asked, "Are Stanfield, Isabey, and +Prout necessarily artists of the second order because they +paint ships and buildings instead of trees and clouds?" Yes, +necessarily of the second order; so far as they paint ships +rather than sea, and so far as they paint buildings rather +than the natural light, and color, and work of years upon those +buildings. For, in this respect, a ruined building is a noble +subject, just as far as man's work has therein been subdued +by nature's; and Stanfield's chief dignity is his being a +painter less of shipping than of the seal of time or decay +upon shipping.<a name="FNanchor_N_14" id="FNanchor_N_14"></a><a href="#Footnote_N_14" class="fnanchor">[N]</a> For a wrecked ship, or shattered boat, is +a noble subject, while a ship in full sail, or a perfect boat, is +<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span>an ignoble one; not merely because the one is by reason of its +ruin more picturesque than the other, but because it is a +nobler act in man to meditate upon Fate as it conquers his +work, than upon that work itself.</p> + +<p>Shipping, therefore, in its perfection, never can become the +subject of noble art; and that just because to represent it in +its perfection would tax the powers of art to the utmost. If +a great painter could rest in drawing a ship, as he can rest in +drawing a piece of drapery, we might sometimes see vessels +introduced by the noblest workmen, and treated by them with +as much delight as they would show in scattering luster over +an embroidered dress, or knitting the links of a coat of mail. +But ships cannot be drawn at times of rest. More complicated +in their anatomy than the human frame itself, so far +as that frame is outwardly discernible; liable to all kinds of +strange accidental variety in position and movement, yet in +each position subject to imperative laws which can only be +followed by unerring knowledge; and involving, in the roundings +and foldings of sail and hull, delicacies of drawing +greater than exist in any other inorganic object, except perhaps +a snow wreath,<a name="FNanchor_O_15" id="FNanchor_O_15"></a><a href="#Footnote_O_15" class="fnanchor">[O]</a>—they present, irrespective of sea or +sky, or anything else around them, difficulties which could +only be vanquished by draughtsmanship quite accomplished +enough to render even the subtlest lines of the human face +and form. But the artist who has once attained such skill +as this will not devote it to the drawing of ships. He who +can paint the face of St. Paul will not elaborate the parting +timbers of the vessel in which he is wrecked; and he who can +represent the astonishment of the apostles at the miraculous +draught will not be solicitous about accurately showing that +their boat is overloaded.</p> + +<p>"What!" it will perhaps be replied, "have, then, ships +<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span>never been painted perfectly yet, even by the men who have +devoted most attention to them?" Assuredly not. A ship +never yet has been painted at all, in any other sense than men +have been painted in "Landscapes with figures." Things +have been painted which have a general effect of ships, just +as things have been painted which have a general effect of +shepherds or banditti; but the best average ship-painting no +more reaches the truth of ships than the equestrian troops in +one of Van der Meulen's battle-pieces express the higher +truths of humanity.</p> + +<div class="figleft" style="width: 250px;"> +<img src="images/illus-035.png" width="250" height="370" alt="Fig. 1" title="" /> +<span class="smcap">Fig. 1</span></div> +<div class="figright" style="width: 158px;"> +<img src="images/illus-036.png" width="158" height="300" alt="Fig. 2." title="" /> +<span class="smcap">Fig. 2.</span></div> + +<p>Take a single instance. I do not know any work in which, +on the whole, there is a more unaffected love of ships for their +own sake, and a fresher feeling of sea breeze always blowing, +than Stanfield's "Coast Scenery." Now, let the reader take +up that book, and look through all the plates of it at the way +in which the most important parts of a ship's skeleton are +<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span>drawn, those most wonderful junctions of mast with mast, +corresponding to the knee or hip in the human frame, technically +known as "Tops." Under its very simplest form, in +one of those poor collier brigs, which I have above endeavored +to recommend to the readers affection, the junction of the +top-gallant-mast with the topmast, when the sail is reefed, +will present itself under no less complex and mysterious form +than this in Fig. 1, a horned knot of seven separate pieces of +timber, irrespective of the two masts and the yard; the whole +balanced and involved in an apparently inextricable web of +chain and rope, consisting of at least sixteen ropes about the +top-gallant-mast, and some twenty-five crossing each other +in every imaginable degree of slackness and slope about the +topmast. Two-thirds of these ropes are omitted in the cut, +because I could not draw them without taking more time and +pains than the point to be illustrated was worth; the thing, +as it is, being drawn quite well enough to give some idea of +the facts of it. Well, take up Stanfield's "Coast Scenery," +and look through it in search of tops, and you will invariably +find them represented as in Fig. 2, or even with fewer lines; +the example Fig. 2 being one of the tops of the frigate running +into Portsmouth harbor, magnified to about twice its +size in the plate.</p> + +<p>"Well, but it was impossible to do more on so small a +scale." By no means: but take what scale you choose, of +<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span>Stanfield's or any other marine painter's most elaborate painting, +and let me magnify the study of the real top in proportion, +and the deficiency of detail will always be found +equally great: I mean in the work of the higher artists, for +there are of course many efforts at greater accuracy of +delineation by those painters of ships who are to the higher +marine painter what botanical draughtsmen are to the landscapists; +but just as in the botanical engraving the spirit and +life of the plant are always lost, so in the technical ship-painting +the life of the ship is always lost, without, as far as +I can see, attaining, even by this sacrifice, anything like +completeness of mechanical delineation. At least, I never +saw the ship drawn yet which gave me the slightest idea of +the entanglement of real rigging.</p> + +<p>Respecting this lower kind of ship-painting, it is always +matter of wonder to me that it satisfies sailors. Some years +ago I happened to stand longer than pleased my pensioner +guide before Turner's "Battle of Trafalgar," at Greenwich +Hospital; a picture which, at a moderate estimate, is simply +worth all the rest of the hospital—ground—walls—pictures +and models put together. My guide, supposing me to be +detained by indignant wonder at seeing it in so good a place, +assented to my supposed, sentiments by muttering in a low +voice: "Well, sir, it <i>is</i> a shame that that thing should be there. +We ought to 'a 'ad a Uggins; that's sartain." I was not surprised +that my sailor friend should be disgusted at seeing the +<i>Victory</i> lifted nearly right out of the water, and all the sails +of the fleet blowing about to that extent that the crews might +as well have tried to reef as many thunder-clouds. But I +was surprised at his perfect repose of respectful faith in +"Uggins," who appeared to me—unfortunate landsman as +I was—to give no more idea of the look of a ship of the line +going through the sea, than might be obtained from seeing +one of the correct models at the top of the hall floated in a +fishpond.</p> + +<p>Leaving, however, the sailor to his enjoyment, on such +grounds as it may be, of this model drawing, and being +<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span>prepared to find only a vague and hasty shadowing forth of +shipping in the works of artists proper, we will glance briefly +at the different stages of excellence which such shadowing +forth has reached, and note in their consecutive changes the +feelings with which shipping has been regarded at different +periods of art.</p> + +<p>1. <i>Mediæval Period.</i> The vessel is regarded merely as a +sort of sea-carriage, and painted only so far as it is necessary +for complete display of the groups of soldiers or saints on +the deck: a great deal of quaint shipping, richly hung with +shields, and gorgeous with banners, is, however, thus incidently +represented in 15th-century manuscripts, embedded +in curly green waves of sea full of long fish; and although +there is never the slightest expression of real sea character, +of motion, gloom, or spray, there is more real interest of +marine detail and incident than in many later compositions.</p> + +<p>2. <i>Early Venetian Period.</i> A great deal of tolerably careful +boat-drawing occurs in the pictures of Carpaccio and +Gentile Bellini, deserving separate mention among the marine +schools, in confirmation of what has been stated above, that +the drawing of boats is more difficult than that of the human +form. For, long after all the perspectives and fore-shortenings +of the human body were completely understood, as well +as those of architecture, it remained utterly beyond the power +of the artists of the time to draw a boat with even tolerable +truth. Boats are always tilted up on end, or too long, or too +short, or too high in the water. Generally they appear to +be regarded with no interest whatever, and are painted merely +where they are matters of necessity. This is perfectly natural: +we pronounce that there is romance in the Venetian +conveyance by oars, merely because we ourselves are in the +habit of being dragged by horses. A Venetian, on the other +hand, sees vulgarity in a gondola, and thinks the only true +romance is in a hackney coach. And thus, it was no more +likely that a painter in the days of Venetian power should +pay much attention to the shipping in the Grand Canal than +<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span>that an English artist should at present concentrate the +brightest rays of his genius on a cab-stand.</p> + +<p>3. <i>Late Venetian Period.</i> Deserving mention only for its +notably negative character. None of the great Venetian +painters, Tintoret, Titian, Veronese, Bellini, Giorgione, +Bonifazio, ever introduce a ship if they can help it. They +delight in ponderous architecture, in grass, flowers, blue +mountains, skies, clouds, and gay dresses; nothing comes +amiss to them but ships and the sea. When they are forced +to introduce these, they represent merely a dark-green plain, +with reddish galleys spotted about it here and there, looking +much like small models of shipping pinned on a green board. +In their marine battles, there is seldom anything discernible +except long rows of scarlet oars, and men in armor falling +helplessly through them.</p> + +<p>4. <i>Late Roman Period.</i> That is to say, the time of the +beginning of the Renaissance landscape by the Caracci, +Claude, and Salvator. First, in their landscapes, shipping +begins to assume something like independent character, and +to be introduced for the sake of its picturesque interest; +although what interest could be taken by any healthy human +creature in such vessels as were then painted has always +remained a mystery to me. The ships of Claude, having hulls +of a shape something between a cocoa-nut and a high-heeled +shoe, balanced on their keels on the top of the water, with +some scaffolding and cross-sticks above, and a flag at the top +of every stick, form perhaps the <i>purest</i> exhibition of human +inanity and fatuity which the arts have yet produced. The +harbors also, in which these model navies ride, are worthy +of all observation for the intensity of the false taste which, +endeavoring to unite in them the characters of pleasure-ground +and port, destroys the veracity of both. There are +many inlets of the Italian seas where sweet gardens and +regular terraces descend to the water's edge; but these are +not the spots where merchant vessels anchor, or where bales +are disembarked. On the other hand, there are many busy +quays and noisy arsenals upon the shores of Italy; but +<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span>Queen's palaces are not built upon the quays, nor are the +docks in any wise adorned with conservatories or ruins. It +was reserved for the genius of Claude to combine the luxurious +with the lucrative, and rise to a commercial ideal, in +which cables are fastened to temple pillars, and lighthouses +adorned with rows of beaupots. It seems strange also that +any power which Salvator showed in the treatment of other +subjects utterly deserts him when he approaches the sea. +Though always coarse, false, and vulgar, he has at least +energy, and some degree of invention, as long as he remains +on land; his terrestrial atrocities are animated, and his rock-born +fancies formidable. But the sea air seems to dim his +sight and paralyze his hand. His love of darkness and destruction, +far from seeking sympathy in the rage of ocean, +disappears as he approaches the beach; after having tortured +the innocence of trees into demoniac convulsions, and shattered +the loveliness of purple hills into colorless dislocation, +he approaches the real wrath and restlessness of ocean without +either admiration or dismay, and appears to feel nothing at +its shore except a meager interest in bathers, fishermen, and +gentlemen in court dress bargaining for state cabins. Of all +the pictures by men who bear the reputation of great masters +which I have ever seen in my life (except only some by +Domenichino), the two large "Marines" in the Pitti Palace, +attributed to Salvator, are, on the whole, the most vapid and +vile examples of human want of understanding. In the folly +of Claude there is still a gleam of grace and innocence; there +is refreshment in his childishness, and tenderness in his +inability. But the folly of Salvator is disgusting in its very +nothingness: it is like the vacuity of a plague-room in an +hospital, shut up in uncleansed silence, emptied of pain and +motion, but not of infection.</p> + +<p>5. <i>Dutch Period.</i> Although in artistical qualities lower +than is easily by language expressible, the Italian marine +painting usually conveys an idea of three facts about the sea,—that +it is green, that it is deep, and that the sun shines on +it. The dark plain which stands for far away Adriatic with +<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span>the Venetians, and the glinting swells of tamed wave which +lap about the quays of Claude, agree in giving the general +impression that the ocean consists of pure water, and is open +to the pure sky. But the Dutch painters, while they attain +considerably greater dexterity than the Italian in mere delineation +of nautical incident, were by nature precluded from +ever becoming aware of these common facts; and having, in +reality, never in all their lives seen the sea, but only a shallow +mixture of sea-water and sand; and also never in all their +lives seen the sky, but only a lower element between them and +it, composed of marsh exhalation and fog-bank; they are not +to be with too great severity reproached for the dullness of +their records of the nautical enterprise of Holland. <i>We</i> only +are to be reproached, who, familiar with the Atlantic, are yet +ready to accept with faith, as types of sea, the small waves +<i>en papillote</i>, and peruke-like puffs of farinaceous foam, which +were the delight of Backhuysen and his compeers. If one +could but arrest the connoisseurs in the fact of looking at +them with belief, and, magically introducing the image of a +true sea-wave, let it roll up to them through the room,—one +massive fathom's height and rood's breadth of brine, passing +them by but once,—dividing, Red Sea-like, on right hand +and left,—but at least setting close before their eyes, for +once in inevitable truth, what a sea-wave really is; its green +mountainous giddiness of wrath, its overwhelming crest—heavy +as iron, fitful as flame, clashing against the sky in long +cloven edge,—its furrowed flanks, all ghastly clear, deep in +transparent death, but all laced across with lurid nets of +spume, and tearing open into meshed interstices their churned +veil of silver fury, showing still the calm gray abyss below; +that has no fury and no voice, but is as a grave always open, +which the green sighing mounds do but hide for an instant as +they pass. Would they, shuddering back from this wave of +the true, implacable sea, turn forthwith to the papillotes? +It might be so. It is what we are all doing, more or less, +continually.</p> + +<p>Well, let the waves go their way; it is not of them that we +<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span>have here to reason; but be it remembered, that men who +cannot enter into the Mind of the Sea, cannot for the same +reason enter into the Mind of Ships, in their contention with +it; and the fluttering, tottering, high-pooped, flag-beset fleets +of these Dutch painters have only this much superiority over +the caricatures of the Italians, that they indeed appear in +some degree to have been studied from the high-pooped and +flag-beset nature which was in that age visible, while the +Claude and Salvator ships are ideals of the studio. But the +effort is wholly unsuccessful. Any one who has ever attempted +to sketch a vessel in motion knows that he might as easily +attempt to sketch a bird on the wing, or a trout on the dart. +Ships can only be drawn, as animals must be, by the high instinct +of momentary perception, which rarely developed itself +in any Dutch painter, and least of all in their painters of +marine. And thus the awkward forms of shipping, the shallow +impurity of the sea, and the cold incapacity of the painter, +joining in disadvantageous influence over them, the Dutch +marine paintings may be simply, but circumstantially, described +as the misrepresentation of undeveloped shipping in +a discolored sea by distempered painters. An exception +ought to be made in favor of the boats of Cuyp, which are +generally well floated in calm and sunny water; and, though +rather punts or tubs than boats, have in them some elements +of a slow, warm, square-sailed, sleepy grandeur—respectable +always, when compared either with the flickering follies of +Backhuysen, or the monstrous, unmanly, and <i>à fortiori</i>, +unsailorly absurdities of metaphysical vessels, puffed on their +way by corpulent genii, or pushed by protuberant dolphins, +which Rubens and the other so-called historical painters of +his time were accustomed to introduce in the mythology of +their court-adulation; that marvelous Faith of the 18th +century, which will one day, and that not far off, be known +for a thing more truly disgraceful to human nature than the +Polynesian's dance round his feather idol, or Egyptian's +worship of the food he fattened on. From Salvator and +Domenichino it is possible to turn in a proud indignation, +<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span>knowing that theirs are no fair examples of the human mind; +but it is with humbled and woful anger that we must trace +the degradation of the intellect of Rubens in his pictures of +the life of Mary of Medicis.<a name="FNanchor_P_16" id="FNanchor_P_16"></a><a href="#Footnote_P_16" class="fnanchor">[P]</a></p> + +<p>6. <i>Modern Period.</i> The gradual appreciation of the true +character both of shipping and the ocean, in the works of the +painters of the last half century, is part of that successful +study of other elements of landscape, of which I have long +labored at a consistent investigation, now partly laid before +the public; I shall not, therefore, here enter into any general +inquiry respecting modern sea-painting, but limit myself to +a notice of the particular feelings which influenced Turner in +his marine studies, so far as they are shown in the series of +plates which have now been trusted to me for illustration.</p> + +<p>Among the earliest sketches from nature which Turner +appears to have made, in pencil and Indian ink, when a boy +of twelve or fourteen, it is very singular how large a proportion +consists of careful studies of stranded boats. Now, +after some fifteen years of conscientious labor, with the +single view of acquiring knowledge of the ends and powers +of art, I have come to one conclusion, which at the beginning +<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span>of those fifteen years would have been very astonishing to +myself—that, of all our modern school of landscape painters, +next to Turner, and before the rise of the Pre-Raphaelites, +the man whose works are on the whole most valuable, and +show the highest intellect, is Samuel Prout. It is very +notable that also in Prout's early studies, shipping subjects +took not merely a prominent, but I think even a principal, +place.</p> + +<p>The reason of this is very evident: both Turner and Prout +had in them an untaught, inherent perception of what was +great and pictorial. They could not find it in the buildings +or in the scenes immediately around them. But they saw +some element of real power in the boats. Prout afterwards +found material suited to his genius in other directions, and +left his first love; but Turner retained the early affection to +the close of his life, and the last oil picture which he painted, +before his noble hand forgot its cunning, was the Wreck-buoy. +The last thoroughly perfect picture he ever painted, +was the Old Téméraire.</p> + +<p>The studies which he was able to make from nature in +his early years, are chiefly of fishing-boats, barges, and other +minor marine still life; and his better acquaintance with this +kind of shipping than with the larger kind is very marked +in the Liber Studiorum, in which there are five careful +studies of fishing-boats under various circumstances; namely, +Calais Harbor, Sir John Mildmay's Picture, Flint Castle, +Marine Dabblers, and the Calm; while of other shipping, +there are only two subjects, both exceedingly unsatisfactory.</p> + +<p>Turner, however, deemed it necessary to his reputation at +that period that he should paint pictures in the style of Vandevelde; +and, in order to render the resemblance more +complete, he appears to have made careful drawings of the +different parts of old Dutch shipping. I found a large +number of such drawings among the contents of his neglected +portfolios at his death; some were clearly not by his own hand, +others appeared to be transcripts by him from prints or +earlier drawings; the quantity altogether was very great, and +<span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span>the evidence of his prolonged attention to the subject more +distinct than with respect to any other element of landscape. +Of plants, rocks, or architecture, there were very few careful +pieces of anatomical study. But several drawers were +entirely filled with these memoranda of shipping.</p> + +<p>In executing the series of drawings for the work known +as the Southern Coast, Turner appears to have gained many +ideas about shipping, which, once received, he laid up by +him for use in after years. The evidence of this laying by +of thought in his mind, as it were in reserve, until he had +power to express it, is curious and complete throughout his +life; and although the Southern Coast drawings are for the +most part quiet in feeling, and remarkably simple in their +mode of execution, I believe it was in the watch over the +Cornish and Dorsetshire coast, which the making of those +drawings involved, that he received all his noblest ideas +about sea and ships.</p> + +<p>Of one thing I am certain; Turner never drew anything +that could be <i>seen</i>, without having seen it. That is to say, +though he would draw Jerusalem from some one else's +sketch, it would be, nevertheless, entirely from his own +experience of ruined walls: and though he would draw +ancient shipping (for an imitation of Vandevelde, or a +vignette to the voyage of Columbus) from such data as he +could get about things which he could no more see with his +own eyes, yet when, of his own free will, in the subject of +Ilfracombe, he, in the year 1818, introduces a shipwreck, I +am perfectly certain that, before the year 1818, he had <i>seen</i> +a shipwreck, and, moreover, one of that horrible kind—a +ship dashed to pieces in deep water, at the foot of an inaccessible +cliff. Having once seen this, I perceive, also, that +the image of it could not be effaced from his mind. It +taught him two great facts, which he never afterwards forgot; +namely, that both ships and sea were things that broke to +pieces. <i>He never afterwards painted a ship quite in fair +order.</i> There is invariably a feeling about his vessels of +strange awe and danger; the sails are in some way loosening, +<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span>or flapping as if in fear; the swing of the hull, majestic as +it may be, seems more at the mercy of the sea than in triumph +over it; the ship never looks gay, never proud, only warlike +and enduring. The motto he chose, in the Catalogue of the +Academy, for the most cheerful marine he ever painted, the +Sun of Venice going to Sea, marked the uppermost feeling +in his mind:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Nor heeds the Demon that in grim repose<br /></span> +<span class="i0">Expects his evening prey."<br /></span> +</div></div> + +<p class="cont">I notice above the subject of his last marine picture, the +Wreck-buoy, and I am well persuaded that from that year +1818, when first he saw a ship rent asunder, he never beheld +one at sea, without, in his mind's eye, at the same instant, +seeing her skeleton.</p> + +<p>But he had seen more than the death of the ship. He had +seen the sea feed her white flames on souls of men; and heard +what a storm-gust sounded like, that had taken up with it, +in its swirl of a moment, the last breaths of a ship's crew. +He never forgot either the sight or the sound. Among the +last plates prepared by his own hand for the Liber Studiorum, +(all of them, as was likely from his advanced knowledge, +finer than any previous pieces of the series, and most of them +unfortunately never published, being retained beside him +for some last touch—forever delayed,) perhaps the most +important is one of the body of a drowned sailor, dashed +against a vertical rock in the jaws of one merciless, immeasurable +wave. He repeated the same idea, though more feebly +expressed, later in life, in a small drawing of Grandville, +on the coast of France. The sailor clinging to the boat in +the marvelous drawing of Dunbar is another reminiscence of +the same kind. He hardly ever painted a steep rocky coast +without some fragment of a devoured ship, grinding in the +blanched teeth of the surges,—just enough left to be a token +of utter destruction. Of his two most important paintings +of definite shipwreck I shall speak presently.</p> + +<p>I said that at this period he first was assured of another +<span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span>fact, namely, that the <i>Sea</i> also was a thing that broke to +pieces. The sea up to that time had been generally regarded +by painters as a liquidly composed, level-seeking consistent +thing, with a smooth surface, rising to a water-mark on sides +of ships; in which ships were scientifically to be embedded, +and wetted, up to said water-mark, and to remain dry +above the same. But Turner found during his Southern +Coast tour that the sea was <i>not</i> this: that it was, on the contrary, +a very incalculable and unhorizontal thing, setting its +"water mark" sometimes on the highest heavens, as well +as on sides of ships;—very breakable into pieces; half of +a wave separable from the other half, and on the instant +carriageable miles inland;—not in any wise limiting itself +to a state of apparent liquidity, but now striking like a steel +gauntlet, and now becoming a cloud, and vanishing, no eye +could tell whither; one moment a flint cave, the next a +marble pillar, the next a mere white fleece thickening the +thundery rain. He never forgot those facts; never afterwards +was able to recover the idea of positive distinction between +sea and sky, or sea and land. Steel gauntlet, black rock, +white cloud, and men and masts gnashed to pieces and disappearing +in a few breaths and splinters among them;—a little +blood on the rock angle, like red sea-weed, sponged away by +the next splash of the foam, and the glistering granite and +green water all pure again in vacant wrath. So stayed by +him, forever, the Image of the Sea.</p> + +<p>One effect of this revelation of the nature of ocean to him +was not a little singular. It seemed that ever afterwards his +appreciation of the calmness of water was deepened by what +he had witnessed of its frenzy, and a certain class of entirely +tame subjects were treated by him even with increased affection +after he had seen the full manifestation of sublimity. +He had always a great regard for canal boats, and instead of +sacrificing these old, and one would have thought unentertaining, +friends to the deities of Storm, he seems to have returned +with a lulling pleasure from the foam and danger of the +beach to the sedgy bank and stealthy barge of the lowland +<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span>river. Thenceforward his work which introduces shipping +is divided into two classes; one embodying the poetry of +silence and calmness, the other of turbulence and wrath. Of +intermediate conditions he gives few examples; if he lets the +wind down upon the sea at all, it is nearly always violent, +and though the waves may not be running high, the foam is +torn off them in a way which shows they will soon run higher. +On the other hand, nothing is so perfectly calm as Turner's +calmness. To the canal barges of England he soon added +other types of languid motion; the broad-ruddered barks +of the Loire, the drooping sails of Seine, the arcaded barks +of the Italian lakes slumbering on expanse of mountain-guarded +wave, the dreamy prows of pausing gondolas on +lagoons at moon-rise; in each and all commanding an intensity +of calm, chiefly because he never admitted an instant's rigidity. +The surface of quiet water with other painters becomes +<span class="smcap">{lt}FIXED</span>. With Turner it looks as if a fairy's breath would +stir it, but the fairy's breath is not there. So also his boats +are intensely motionless, because intensely capable of motion. +No other painter ever floated a boat quite rightly; all other +boats stand on the water, or are fastened in it; only his <i>float</i> +in it. It is very difficult to trace the reasons of this, for the +rightness of the placing on the water depends on such subtle +curves and shadows in the floating object and its reflection, +that in most cases the question of entirely right or entirely +wrong resolves itself into the "estimation of an hair": and +what makes the matter more difficult still, is, that sometimes +we may see a boat drawn with the most studied correctness in +every part, which yet will not swim; and sometimes we may +find one drawn with many easily ascertainable errors, which +yet swims well enough; so that the drawing of boats is something +like the building of them, one may set off their lines +by the most authentic rules, and yet never be sure they will +sail well. It is, however, to be observed that Turner seemed, +in those southern coast storms, to have been somewhat too +strongly impressed by the disappearance of smaller crafts +in surf, and was wont afterwards to give an uncomfortable +<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span>aspect even to his gentlest seas, by burying his boats too +deeply. When he erred, in this or other matters, it was not +from want of pains, for of all accessories to landscape, ships +were throughout his life those which he studied with the +greatest care. His figures, whatever their merit or demerit, +are certainly never the beloved part of his work; and though +the architecture was in his early drawings careful, and continued +to be so down to the Hakewell's Italy series, it soon +became mannered and false whenever it was principal. He +would indeed draw a ruined tower, or a distant town, incomparably +better than any one else, and a staircase or a bit of +balustrade very carefully; but his temples and cathedrals +showed great ignorance of detail, and want of understanding +of their character. But I am aware of no painting from the +beginning of his life to its close, containing <i>modern</i> shipping +as its principal subject, in which he did not put forth his +full strength, and pour out his knowledge of detail with a +joy which renders those works, as a series, among the most +valuable he ever produced. Take for instance:</p> + +<ol><li>Lord Yarborough's Shipwreck.</li> +<li>The Trafalgar, at Greenwich Hospital.</li> +<li>The Trafalgar, in his own gallery.</li> +<li>The Pas de Calais.</li> +<li>The Large Cologne.</li> +<li>The Havre.</li> +<li>The Old Téméraire.</li> +</ol> + +<p>I know no fourteen pictures by Turner for which these +seven might be wisely changed; and in all of these the shipping +is thoroughly principal, and studied from existing ships. +A large number of inferior works were, however, also +produced by him in imitation of Vandevelde, representing +old Dutch shipping; in these the shipping is scattered, +scudding and distant, the sea gray and lightly broken. Such +pictures are, generally speaking, among those of least value +which he has produced. Two very important ones, however, +<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span>belong to the imitative school: Lord Ellesmere's, founded on +Vandevelde; and the Dort, at Farnley, on Cuyp. The latter, +as founded on the better master, is the better picture, but still +possesses few of the true Turner qualities, except his peculiar +calmness, in which respect it is unrivaled; and if joined with +Lord Yarborough's Shipwreck, the two may be considered as +the principal symbols, in Turner's early oil paintings, of his +two strengths in Terror and Repose. Among his drawings, +shipping, as the principal subject, does not always constitute +a work of the first class; nor does it so often occur. For the +difficulty, in a drawing, of getting good color is so much less, +and that of getting good form so much greater, than in oil, +that Turner naturally threw his elaborate studies of ship +form into oil, and made his noblest work in drawing rich in +hues of landscape. Yet the Cowes, Devonport, and Gosport, +from the England and Wales (the Saltash is an inferior +work), united with two drawings of this series, Portsmouth +and Sheerness, and two from Farnley, one of the wreck of +an Indiaman, and the other of a ship of the line taking +stores, would form a series, not indeed as attractive at first +sight as many others, but embracing perhaps more of Turner's +peculiar, unexampled, and unapproachable gifts than any +other group of drawings which could be selected, the choice +being confined to one class of subject.</p> + +<p>I have only to state, in conclusion, that these twelve drawings +of the Harbors of England are more representable by +engraving than most of his works. Few parts of them are +brilliant in color; they were executed chiefly in brown and +blue, and with more direct reference to the future engraving +than was common with Turner. They are also small in size, +generally of the exact dimensions of the plate, and therefore +the lines of the compositions are not spoiled by contraction; +while finally, the touch of the painter's hand upon the wave-surface +is far better imitated by mezzotint engraving than +by any of the ordinary expedients of line. Take them all in +all, they form the most valuable series of marine studies +which have as yet been published from his works; and I hope +<span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span>that they may be of some use hereafter in recalling the ordinary +aspect of our English seas, at the exact period when the +nation had done its utmost in the wooden and woven strength +of ships, and had most perfectly fulfilled the old and noble +prophecy—</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"They shall ride<br /></span> +<span class="i6">Over ocean wide,<br /></span> +<span class="i0">With hempen bridle, and horse of tree."<br /></span> +<span class="i8"><i>Thomas of Ercildoune.</i><br /></span> +</div></div> + + +<hr /><p><span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span></p> +<h2><a name="I_DOVER" id="I_DOVER"></a>I.—DOVER.</h2> + +<div class="center"><div class="figcenter" style="width: 400px;"> +<a href="images/illus-dover.jpg"><img src="images/illus-dover-tn.jpg" width="400" height="261" alt="Dover." title="" /></a> +</div></div> + + +<p>This port has some right to take precedence of others, +as being that assuredly which first exercises the hospitality +of England to the majority of strangers who set foot on her +shores. I place it first therefore among our present subjects; +though the drawing itself, and chiefly on account of its +manifestation of Turner's faulty habit of local exaggeration, +deserves no such pre-eminence. He always painted, not the +place itself, but his impression of it, and this on steady +principle; leaving to inferior artists the task of topographical +detail; and he was right in this principle, as I have shown +elsewhere, when the impression was a genuine one; but in +the present case it is not so. He has lost the real character of +Dover Cliffs by making the town at their feet three times +lower in proportionate height than it really is; nor is he to +be justified in giving the barracks, which appear on the left +hand, more the air of a hospice on the top of an Alpine +precipice, than of an establishment which, out of Snargate +street, can be reached, without drawing breath, by a winding +stair of some 170 steps; making the slope beside them more +like the side of Skiddaw than what it really is, the earthwork +of an unimportant battery.</p> + +<p>This design is also remarkable as an instance of that restlessness +which was above noticed even in Turner's least stormy +seas. There is nothing tremendous here in scale of wave, +but the whole surface is fretted and disquieted by torturing +wind; an effect which was always increased during the progress +of the subjects, by Turner's habit of scratching out +small sparkling lights, in order to make the plate "bright," +or "lively."<a name="FNanchor_Q_17" id="FNanchor_Q_17"></a><a href="#Footnote_Q_17" class="fnanchor">[Q]</a> In a general way the engravers used to like +<span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span>this, and, as far as they were able, would tempt Turner farther +into the practice, which was precisely equivalent to that +of supplying the place of healthy and heart-whole cheerfulness +by dram-drinking.</p> + +<p>The two sea-gulls in the front of the picture were additions +of this kind, and are very injurious, confusing the organization +and concealing the power of the sea. The merits +of the drawing are, however, still great as a piece of composition. +The left-hand side is most interesting, and characteristic +of Turner: no other artist would have put the round +pier so exactly under the round cliff. It is under it so +accurately, that if the nearly vertical falling line of that cliff +be continued, it strikes the sea-base of the pier to a hair's +breadth. But Turner knew better than any man the value +of echo, as well as of contrast,—of repetition, as well as of +opposition. The round pier repeats the line of the main cliff, +and then the sail repeats the diagonal shadow which crosses +it, and emerges above it just as the embankment does above +the cliff brow. Lower, come the opposing curves in the two +boats, the whole forming one group of sequent lines up the +whole side of the picture. The rest of the composition is +more commonplace than is usual with the great master; but +there are beautiful transitions of light and shade between the +sails of the little fishing-boat, the brig behind her, and the +cliffs. Note how dexterously the two front sails<a name="FNanchor_R_18" id="FNanchor_R_18"></a><a href="#Footnote_R_18" class="fnanchor">[R]</a> of the +brig are brought on the top of the white sail of the fishing-boat +to help to detach it from the white cliffs.</p> + + +<hr /><p><span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span></p> +<h2><a name="II_RAMSGATE" id="II_RAMSGATE"></a>II.—RAMSGATE.</h2> + +<div class="center"><div class="figcenter" style="width: 400px;"> +<a href="images/illus-ramsgate.jpg"><img src="images/illus-ramsgate-tn.jpg" width="400" height="273" alt="Ramsgate." title="" /></a> +</div></div> + + +<p>This, though less attractive, at first sight, than the former +plate, is a better example of the master, and far truer and +nobler as a piece of thought. The lifting of the brig on the +wave is very daring; just one of the things which is seen in +every gale, but which no other painter than Turner ever represented; +and the lurid transparency of the dark sky, and wild +expression of wind in the fluttering of the falling sails of the +vessel running into the harbor, are as fine as anything of the +kind he has done. There is great grace in the drawing of +this latter vessel: note the delicate switch forward of her +upper mast.</p> + +<p>There is a very singular point connected with the composition +of this drawing, proving it (as from internal evidence +was most likely) to be a record of a thing actually seen. +Three years before the date of this engraving Turner had +made a drawing of Ramsgate for the Southern Coast series. +That drawing represents the <i>same day</i>, the <i>same moment</i>, +and the <i>same ships</i>, from a different point of view. It supposes +the spectator placed in a boat some distance out at sea, +beyond the fishing-boats on the left in the present plate, and +looking towards the town, or into the harbor. The brig, which +is near us here, is then, of course, in the distance on the +right; the schooner entering the harbor, and, in both plates, +lowering her fore-topsail, is, of course, seen foreshortened; +the fishing-boats only are a little different in position and +set of sail. The sky is precisely the same, only a dark piece +of it, which is too far to the right to be included in <i>this</i> +view, enters into the wider distance of the other, and the town, +of course, becomes a more important object.</p> + +<p>The persistence in one conception furnishes evidence of +<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span>the very highest imaginative power. On a common mind, +what it has seen is so feebly impressed, that it mixes other +ideas with it immediately; forgets it—modifies it—adorns +it,—does anything but keep <i>hold</i> of it. But when Turner +had once seen that stormy hour at Ramsgate harbor-mouth, +he never quitted his grasp of it. He had <i>seen</i> the two vessels; +one go in, the other out. He could have only seen them at +that one moment—from one point; but the impression on +his imagination is so strong, that he is able to handle it three +years afterwards, as if it were a real thing, and turn it round +on the table of his brain, and look at it from the other corner. +He will see the brig near, instead of far off: set the whole +sea and sky so many points round to the south, and see how +they look, so. I never traced power of this kind in any other +man.</p> + + +<hr /><p><span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span></p> +<h2><a name="III_PLYMOUTH" id="III_PLYMOUTH"></a>III.—PLYMOUTH.</h2> + +<div class="center"><div class="figcenter" style="width: 400px;"> +<a href="images/illus-plymouth.jpg"><img src="images/illus-plymouth-tn.jpg" width="400" height="260" alt="Plymouth." title="" /></a> +</div></div> + + +<p>The drawing for this plate is one of Turner's most remarkable, +though not most meritorious, works: it contains the +brightest rainbow he ever painted, to my knowledge; not the +best, but the most dazzling. It has been much modified in +the plate. It is very like one of Turner's pieces of caprice +to introduce a rainbow at all as a principal feature in such +a scene; for it is not through the colors of the iris that we +generally expect to be shown eighteen-pounder batteries and +ninety-gun ships.</p> + +<p>Whether he meant the dark cloud (intensely dark blue +in the original drawing), with the sunshine pursuing it +back into distance; and the rainbow, with its base set on a +ship of battle, to be together types of war and peace, and of +the one as the foundation of the other, I leave it to the reader +to decide. My own impression is, that although Turner +might have some askance symbolism in his mind, the present +design is, like the former one, in many points a simple +reminiscence of a seen fact.<a name="FNanchor_S_19" id="FNanchor_S_19"></a><a href="#Footnote_S_19" class="fnanchor">[S]</a></p> + +<p>However, whether reminiscent or symbolic, the design is, +to my mind, an exceedingly unsatisfactory one, owing to its +total want of principal subject. The fort ceases to be of +importance because of the bank and tower in front of it; the +ships, necessarily for the effect, but fatally for themselves, +are confused, and incompletely drawn, except the little sloop, +which looks paltry and like a toy; and the foreground objects +<span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span>are, for work of Turner, curiously ungraceful and uninteresting.</p> + +<p>It is possible, however, that to some minds the fresh and +dewy space of darkness, so animated with latent human +power, may give a sensation of great pleasure, and at all +events the design is worth study on account of its very strangeness.</p> + + +<hr /><p><span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span></p> +<h2><a name="IV_CATWATER" id="IV_CATWATER"></a>IV.—CATWATER.</h2> + +<div class="center"><div class="figcenter" style="width: 400px;"> +<a href="images/illus-catwater.jpg"><img src="images/illus-catwater-tn.jpg" width="400" height="267" alt="Catwater." title="" /></a> +</div></div> + + +<p>I have placed in the middle of the series those pictures +which I think least interesting, though the want of interest +is owing more to the monotony of their character than to any +real deficiency in their subjects. If, after contemplating +paintings of arid deserts or glowing sunsets, we had come +suddenly upon this breezy entrance to the crowded cove of +Plymouth, it would have gladdened our hearts to purpose; but +having already been at sea for some time, there is little in +this drawing to produce renewal of pleasurable impression: +only one useful thought may be gathered from the very feeling +of monotony. At the time when Turner executed these drawings, +his portfolios were full of the most magnificent subjects—coast +and inland,—gathered from all the noblest scenery +of France and Italy. He was ready to realize these sketches +for any one who would have asked it of him, but no consistent +effort was ever made to call forth his powers; and the only +means by which it was thought that the public patronage +could be secured for a work of this kind, was by keeping +familiar names before the eye, and awakening the so-called +"patriotic," but in reality narrow and selfish, associations +belonging to well-known towns or watering-places. It is to +be hoped, that when a great landscape painter appears among +us again, we may know better how to employ him, and set +him to paint for us things which are less easily seen, and +which are somewhat better worth seeing, than the mists of +the Catwater, or terraces of Margate.</p> + + +<hr /><p><span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span></p> +<h2><a name="V_SHEERNESS" id="V_SHEERNESS"></a>V.—SHEERNESS.</h2> + +<div class="center"><div class="figcenter" style="width: 400px;"> +<a href="images/illus-sheerness.jpg"><img src="images/illus-sheerness-tn.jpg" width="400" height="264" alt="Sheerness." title="" /></a> +</div></div> + + +<p>I look upon this as one of the noblest sea-pieces which +Turner ever produced. It has not his usual fault of over-crowding +or over-glitter; the objects in it are few and noble, +and the space infinite. The sky is quite one of his best: not +violently black, but full of gloom and power; the complicated +roundings of its volumes behind the sloop's mast, and downwards +to the left, have been rendered by the engraver with +notable success; and the dim light entering along the horizon, +full of rain, behind the ship of war, is true and grand in the +highest degree. By comparing it with the extreme darkness +of the skies in the Plymouth, Dover, and Ramsgate, the +reader will see how much more majesty there is in moderation +than in extravagance, and how much more darkness, as +far as sky is concerned, there is in gray than in black. It is +not that the Plymouth and Dover skies are false,—such +impenetrable forms of thunder-cloud are amongst the commonest +phenomena of storm; but they have more of spent +flash and past shower in them than the less passionate, but +more truly stormy and threatening, volumes of the sky here. +The Plymouth storm will very thoroughly wet the sails, and +wash the decks, of the ships at anchor, but will send nothing +to the bottom. For these pale and lurid masses, there is no +saying what evil they may have in their thoughts, or what they +may have to answer for before night. The ship of war in the +distance is one of many instances of Turner's dislike to draw +<i>complete</i> rigging; and this not only because he chose to give +an idea of his ships having seen rough service, and being +crippled; but also because in men-of-war he liked the mass +of the hull to be increased in apparent weight and size by +want of upper spars. All artists of any rank share this last +<span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span>feeling. Stanfield never makes a careful study of a hull +without shaking some or all of its masts out of it first, if +possible. See, in the Coast Scenery, Portsmouth harbor, +Falmouth, Hamoaze, and Rye old harbors; and compare, +among Turner's works, the near hulls in the Devonport, +Saltash, and Castle Upnor, and distance of Gosport. The +fact is, partly that the precision of line in the complete spars +of a man-of-war is too formal to come well into pictorial +arrangements, and partly that the chief glory of a ship of +the line is in its aspect of being "one that hath had losses."</p> + +<p>The subtle varieties of curve in the drawing of the sails of +the near sloop are altogether exquisite; as well as the contrast +of her black and glistering side with those sails, and with the +sea. Examine the wayward and delicate play of the dancing +waves along her flank, and between her and the brig in ballast, +plunging slowly before the wind; I have not often seen anything +so perfect in fancy, or in execution of engraving.</p> + +<p>The heaving and black buoy in the near sea is one of +Turner's "echoes," repeating, with slight change, the head of +the sloop with its flash of luster. The chief aim of this buoy +is, however, to give comparative lightness to the shadowed +part of the sea, which is, indeed, somewhat overcharged in +darkness, and would have been felt to be so, but for this +contrasting mass. Hide it with the hand, and this will be +immediately felt. There is only one other of Turner's works +which, in its way, can be matched with this drawing, namely, +the Mouth of the Humber in the River Scenery. The latter +is, on the whole, the finer picture; but this by much the +more interesting in the shipping.</p> + + +<hr /><p><span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span></p> +<h2><a name="VI_MARGATE" id="VI_MARGATE"></a>VI.—MARGATE.</h2> + +<div class="center"><div class="figcenter" style="width: 400px;"> +<a href="images/illus-margate.jpg"><img src="images/illus-margate-tn.jpg" width="400" height="254" alt="Margate." title="" /></a> +</div></div> + + +<p>This plate is not, at first sight, one of the most striking of +the series; but it is very beautiful, and highly characteristic +of Turner.<a name="FNanchor_T_20" id="FNanchor_T_20"></a><a href="#Footnote_T_20" class="fnanchor">[T]</a> First, in its choice of subjects: for it seems +very notably capricious in a painter eminently capable of +rendering scenes of sublimity and mystery, to devote himself +to the delineation of one of the most prosaic of English watering-places—not +once or twice, but in a series of elaborate +drawings, of which this is the fourth. The first appeared in +the Southern Coast series, and was followed by an elaborate +drawing on a large scale, with a beautiful sunrise; then came +another careful and very beautiful drawing in the England +and Wales series; and finally this, which is a sort of poetical +abstract of the first. Now, if we enumerate the English ports +one by one, from Berwick to Whitehaven, round the island, +there will hardly be found another so utterly devoid of all +picturesque or romantic interest as Margate. Nearly all have +some steep eminence of down or cliff, some pretty retiring +dingle, some roughness of old harbor or straggling fisher-hamlet, +some fragment of castle or abbey on the heights above, +capable of becoming a leading point in a picture; but Margate +is simply a mass of modern parades and streets, with a little +bit of chalk cliff, an orderly pier, and some bathing-machines. +Turner never conceives it as anything else; and yet for the +sake of this simple vision, again and again he quits all higher +thoughts. The beautiful bays of Northern Devon and Cornwall +he never painted but once, and that very imperfectly. +The finest subjects of the Southern Coast series—the Minehead, +<span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span>Clovelly, Ilfracombe, Watchet, East and West Looe, +Tintagel, Boscastle—he never touched again; but he repeated +Ramsgate, Deal, Dover, and Margate, I know not how often.</p> + +<p>Whether his desire for popularity, which, in spite of his +occasional rough defiances of public opinion, was always great, +led him to the selection of those subjects which he thought +might meet with most acceptance from a large class of the +London public, or whether he had himself more pleasurable +associations connected with these places than with others, I +know not; but the fact of the choice itself is a very mournful +one, considered with respect to the future interests of art. +There is only this one point to be remembered, as tending to +lessen our regret, that it is possible Turner might have felt +the necessity of compelling himself sometimes to dwell on +the most familiar and prosaic scenery, in order to prevent +his becoming so much accustomed to that of a higher class +as to diminish his enthusiasm in its presence. Into this +probability I shall have occasion to examine at greater length +hereafter.</p> + +<p>The plate of Margate now before us is nearly as complete +a duplicate of the Southern Coast view as the previous plate is +of that of Ramsgate; with this difference, that the position +of the spectator is here the same, but the class of ship is +altered, though the ship remains precisely in the same spot. +A piece of old wreck, which was rather an important object +to the left of the other drawing, is here removed. The figures +are employed in the same manner in both designs.</p> + +<p>The details of the houses of the town are executed in the +original drawing with a precision which adds almost painfully +to their natural formality. It is certainly provoking to find +the great painter, who often only deigns to bestow on some +Rhenish fortress or French city, crested with Gothic towers, +a few misty and indistinguishable touches of his brush, +setting himself to indicate, with unerring toil, every separate +square window in the parades, hotels, and circulating +libraries of an English bathing-place.</p> + +<p>The whole of the drawing is well executed, and free from +<span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span>fault or affectation, except perhaps in the somewhat confused +curlings of the near sea. I had much rather have seen it +breaking in the usual straightforward way. The brilliant +white of the piece of chalk cliff is evidently one of the principal +aims of the composition. In the drawing the sea is +throughout of a dark fresh blue, the sky grayish blue, and +the grass on the top of the cliffs a little sunburnt, the cliffs +themselves being left in the almost untouched white of the +paper.</p> + + +<hr /><p><span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span></p> +<h2><a name="VII_PORTSMOUTH" id="VII_PORTSMOUTH"></a>VII.—PORTSMOUTH.</h2> + +<div class="center"><div class="figcenter" style="width: 400px;"> +<a href="images/illus-portsmouth.jpg"><img src="images/illus-portsmouth-tn.jpg" width="400" height="263" alt="Portsmouth." title="" /></a> +</div></div> + + +<p>This beautiful drawing is a <i>third</i> recurrence by Turner +to his earliest impression of Portsmouth, given in the Southern +Coast series. The buildings introduced differ only by a +slight turn of the spectator towards the right; the buoy is +in the same spot; the man-of-war's boat nearly so; the sloop +exactly so, but on a different tack; and the man-of-war, which +is far off to the left at anchor in the Southern Coast view, +is here nearer, and getting up her anchor.</p> + +<p>The idea had previously passed through one phase of +greater change, in his drawing of "Gosport" for the England, +in which, while the sky of the Southern Coast view was +almost cloud for cloud retained, the interest of the distant +ships of the line had been divided with a collier brig and a +fast-sailing boat. In the present view he returns to his early +thought, dwelling, however, now with chief insistence on the +ship of the line, which is certainly the most majestic of all +that he has introduced in his drawings.</p> + +<p>It is also a very curious instance of that habit of Turner's +before referred to (p. {ref}27), of never painting a ship quite in +good order. On showing this plate the other day to a naval +officer, he complained of it, first that "the jib<a name="FNanchor_U_21" id="FNanchor_U_21"></a><a href="#Footnote_U_21" class="fnanchor">[U]</a> would not be +wanted with the wind blowing out of harbor," and, secondly, +that "a man-of-war would never have her foretop-gallant sail +set, and her main and mizzen top-gallants furled:—all the +men would be on the yards at once."</p> + +<p>I believe this criticism to be perfectly just, though it has +happened to me, very singularly, whenever I have had the +opportunity of making complete inquiry into any technical +matter of this kind, respecting which some professional person +<span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span>had blamed Turner, that I have always found, in the end, +Turner was right, and the professional critic wrong, owing +to some want of allowance for possible accidents, and for +necessary modes of pictorial representation. Still, this cannot +be the case in every instance; and supposing my sailor +informant to be perfectly right in the present one, the disorderliness +of the way in which this ship is represented as +setting her sails, gives us farther proof of the imperative +instinct in the artist's mind, refusing to contemplate a ship, +even in her proudest moments, but as in some way over-mastered +by the strengths of chance and storm.</p> + +<p>The wave on the left hand beneath the buoy, presents a +most interesting example of the way in which Turner used +to spoil his work by retouching. All his truly fine drawings +are either done quickly, or at all events straight forward, +without alteration: he never, as far as I have examined his +works hitherto, altered but to destroy. When he saw a plate +look somewhat dead or heavy, as, compared with the drawing, +it was almost sure at first to do, he used to scratch out little +lights all over it, and make it "sparkling"; a process in +which the engravers almost unanimously delighted,<a name="FNanchor_V_22" id="FNanchor_V_22"></a><a href="#Footnote_V_22" class="fnanchor">[V]</a> and +over the impossibility of which they now mourn, declaring it +to be hopeless to engrave after Turner, since he cannot now +scratch their plates for them. It is quite true that these small +lights were always placed beautifully; and though the plate, +after its "touching," generally looked as if ingeniously salted +out of her dredging-box by an artistical cook, the salting was +done with a spirit which no one else can now imitate. But +the original power of the work was forever destroyed. If +the reader will look carefully beneath the white touches on +the left in this sea, he will discern dimly the form of a round +nodding hollow breaker. This in the early state of the plate +is a gaunt, dark, angry wave, rising at the shoal indicated by +the buoy;—Mr. Lupton has fac-similed with so singular skill +<span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span>the scratches of the penknife by which Turner afterwards +disguised this breaker, and spoiled his picture, that the plate +in its present state is almost as interesting as the touched +proof itself; interesting, however, only as a warning to all +artists never to lose hold of their first conception. They may +tire even of what is exquisitely right, as they work it out, +and their only safety is in the self-denial of calm completion.</p> + + +<hr /><p><span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span></p> +<h2><a name="VIII_FALMOUTH" id="VIII_FALMOUTH"></a>VIII.—FALMOUTH.</h2> + +<div class="center"><div class="figcenter" style="width: 400px;"> +<a href="images/illus-falmouth.jpg"><img src="images/illus-falmouth-tn.jpg" width="400" height="278" alt="Falmouth." title="" /></a> +</div></div> + + +<p>This is one of the most beautiful and best-finished plates +of the series, and Turner has taken great pains with the +drawing; but it is sadly open to the same charges which +were brought against the Dover, of an attempt to reach a +false sublimity by magnifying things in themselves insignificant. +The fact is that Turner, when he prepared these +drawings, had been newly inspired by the scenery of the +Continent; and with his mind entirely occupied by the +ruined towers of the Rhine, he found himself called upon to +return to the formal embrasures and unappalling elevations +of English forts and hills. But it was impossible for him +to recover the simplicity and narrowness of conception in +which he had executed the drawing of the Southern Coast, +or to regain the innocence of delight with which he had once +assisted gravely at the drying of clothes over the limekiln +at Comb Martin, or penciled the woodland outlines of the +banks of Dartmouth Cove. In certain fits of prosaic humorism, +he would, as we have seen, condemn himself to delineation +of the parades of a watering-place; but the moment he +permitted himself to be enthusiastic, vaster imaginations +crowded in upon him: to modify his old conception in the +least, was to exaggerate it; the mount of Pendennis is lifted +into rivalship with Ehrenbreitstein, and hardworked Falmouth +glitters along the distant bay, like the gay magnificence +of Resina or Sorrento.</p> + +<p>This effort at sublimity is all the more to be regretted, +because it never succeeds completely. Shade, or magnify, or +mystify as he may, even Turner cannot make the minute +neatness of the English fort appeal to us as forcibly as the +remnants of Gothic wall and tower that crown the Continental +<span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span>crags; and invest them as he may with smoke or sunbeam, +the details of our little mounded hills will not take +the rank of cliffs of Alp, or promontories of Apennine; and +we lose the English simplicity, without gaining the Continental +nobleness.</p> + +<p>I have also a prejudice against this picture for being +disagreeably noisy. Wherever there is something serious to +be done, as in a battle piece, the noise becomes an element of +the sublimity; but to have great guns going off in every +direction beneath one's feet on the right, and all round the +other side of the castle, and from the deck of the ship of the +line, and from the battery far down the cove, and from the +fort on the top of the hill, and all for nothing, is to my mind +eminently troublesome.</p> + +<p>The drawing of the different wreaths and depths of smoke, +and the explosive look of the flash on the right, are, however, +very wonderful and peculiarly Turneresque; the sky is also +beautiful in form, and the foreground, in which we find +his old regard for washerwomen has not quite deserted him, +singularly skillful. It is curious how formal the whole +picture becomes if this figure and the gray stones beside it +are hidden with the hand.</p> + + +<hr /><p><span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span></p> +<h2><a name="IX_SIDMOUTH" id="IX_SIDMOUTH"></a>IX.—SIDMOUTH.</h2> + +<div class="center"><div class="figcenter" style="width: 400px;"> +<a href="images/illus-sidmouth.jpg"><img src="images/illus-sidmouth-tn.jpg" width="400" height="277" alt="Sidmouth." title="" /></a> +</div></div> + + +<p>This drawing has always been interesting to me among +Turner's sea pieces, on account of the noble gathering together +of the great wave on the left,—the back of a breaker, just +heaving itself up, and provoking itself into passion, before +its leap and roar against the beach. But the enjoyment of +these designs is much interfered with by their monotony: it +is seriously to be regretted that in all but one the view is +taken from the sea; for the spectator is necessarily tired by +the perpetual rush and sparkle of water, and ceases to be +impressed by it. It would be felt, if this plate were seen +alone, that there are few marine paintings in which the weight +and heaping of the sea are given so faithfully.</p> + +<p>For the rest it is perhaps more to be regretted that we are +kept to our sea-level at Sidmouth than at any other of the +localities illustrated. What claim the pretty little village +has to be considered as a port of England, I know not; but +if it was to be so ranked, a far more interesting study of it +might have been made from the heights above the town, +whence the ranges of dark-red sandstone cliffs stretching to +the southwest are singularly bold and varied. The detached +fragment of sandstone which forms the principal object in +Turner's view has long ago fallen, and even while it stood +could hardly have been worth the honor of so careful illustration.</p> + + +<hr /><p><span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span></p> +<h2><a name="X_WHITBY" id="X_WHITBY"></a>X.—WHITBY.</h2> + +<div class="center"><div class="figcenter" style="width: 400px;"> +<a href="images/illus-whitby.jpg"><img src="images/illus-whitby-tn.jpg" width="400" height="279" alt="Whitby." title="" /></a> +</div></div> + + +<p>As an expression of the general spirit of English coast +scenery, this plate must be considered the principal one of +the series. Like all the rest, it is a little too grand for its +subject; but the exaggerations of space and size are more +allowable here than in the others, as partly necessary to +convey the feeling of danger conquered by activity and commerce, +which characterizes all our northerly Eastern coast. +There are cliffs more terrible, and winds more wild, on other +shores; but nowhere else do so many white sails lean against +the bleak wind, and glide across the cliff shadows. Nor do +I know many other memorials of monastic life so striking as +the abbey on that dark headland. We are apt in our journeys +through lowland England, to watch with some secret contempt +the general pleasantness of the vales in which our +abbeys were founded, without taking any pains to inquire +into the particular circumstances which directed or compelled +the choice of the monks, and without reflecting that, if the +choice were a selfish one, the selfishness is that of the English +lowlander turning monk, not that of monachism; since, if +we examine the sites of the Swiss monasteries and convents, +we shall always find the snow lying round them in July; +and it must have been cold meditating in these cloisters of +St. Hilda's when the winter wind set from the east. It is +long since I was at Whitby, and I am not sure whether +Turner is right in giving so monotonous and severe verticality +to the cliff above which the abbey stands; but I believe +it must have some steep places about it, since the tradition +which, in nearly all parts of the island where fossil ammonites +are found, is sure to be current respecting them, takes +quite an original form at Whitby, owing to the steepness of +<span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span>this rock. In general, the saint of the locality has simply +turned all the serpents to stone; but at Whitby, St. Hilda +drove them over the cliff, and the serpents, before being petrified, +had all their heads broken off by the fall!</p> + + +<hr /><p><span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span></p> +<h2><a name="XI_DEAL" id="XI_DEAL"></a>XI.—DEAL.</h2> + +<div class="center"><div class="figcenter" style="width: 400px;"> +<a href="images/illus-deal.jpg"><img src="images/illus-deal-tn.jpg" width="400" height="271" alt="Deal." title="" /></a> +</div></div> + + +<p>I have had occasion,<a name="FNanchor_W_23" id="FNanchor_W_23"></a><a href="#Footnote_W_23" class="fnanchor">[W]</a> elsewhere, to consider at some +length, the peculiar love of the English for neatness and +minuteness: but I have only considered, without accounting +for, or coming to any conclusion about it; and, the more I +think of it, the more it puzzles me to understand what there +can be in our great national mind which delights to such an +extent in brass plates, red bricks, square curbstones, and +fresh green paint, all on the tiniest possible scale. The other +day I was dining in a respectable English "Inn and Posting-house," +not ten miles from London, and, measuring the room +after dinner, I found it exactly twice and a quarter the +height of my umbrella. It was a highly comfortable room, +and associated, in the proper English manner, with outdoor +sports and pastimes, by a portrait of Jack Hall, fisherman of +Eton, and of Mr. C. Davis on his favorite mare; but why +all this hunting and fishing enthusiasm should like to reduce +itself, at home, into twice and a quarter the height of an +umbrella, I could not in any wise then, nor have I at any +other time been able to ascertain.</p> + +<p>Perhaps the town of Deal involves as much of this question +in its aspect and reputation, as any other place in Her Majesty's +dominions: or at least it seemed so to me, coming to +it as I did, after having been accustomed to the boat-life at +Venice, where the heavy craft, massy in build and massy in +sail, and disorderly in aquatic economy, reach with their +mast-vanes only to the first stories of the huge marble palaces +they anchor among. It was very strange to me, after this, +knowing that whatever was brave and strong in the English +sailor was concentrated in our Deal boatmen, to walk along +<span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span>that trim strip of conventional beach, which the sea itself +seems to wash in a methodical manner, one shingle-step at +a time; and by its thin toy-like boats, each with its head to +sea, at regular intervals, looking like things that one would +give a clever boy to play with in a pond, when first he got +past petticoats; and the row of lath cots behind, all tidiness +and telegraph, looking as if the whole business of the human +race on earth was to know what o'clock it was, and when it +would be high water,—only some slight weakness in favor of +grog being indicated here and there by a hospitable-looking +open door, a gay bow-window, and a sign intimating that it +is a sailor's duty to be not only accurate, but "jolly."</p> + +<p>Turner was always fond of this neat, courageous, benevolent, +merry, methodical Deal. He painted it very early, in +the Southern Coast series, insisting on one of the tavern +windows as the principal subject, with a flash of forked +lightning streaming beyond it out at sea like a narrow flag. +He has the same association in his mind in the present +plate; disorder and distress among the ships on the left, +with the boat going out to help them; and the precision of +the little town stretching in sunshine along the beach.</p> + + +<hr /><p><span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span></p> +<h2><a name="XII_SCARBOROUGH" id="XII_SCARBOROUGH"></a>XII.—SCARBOROUGH.</h2> + +<div class="center"><div class="figcenter" style="width: 400px;"> +<a href="images/illus-scarborough.jpg"><img src="images/illus-scarborough-tn.jpg" width="400" height="277" alt="Scarborough." title="" /></a> +</div></div> + + +<p>I have put this plate last in the series, thinking that the +reader will be glad to rest in its morning quietness, after so +much tossing among the troubled foam. I said in the course +of the introduction, that nothing is so perfectly calm as +Turner's calmness; and I know very few better examples of +this calmness than the plate before us, uniting, as it does, +the glittering of the morning clouds, and trembling of the +sea, with an infinitude of peace in both. There are one or +two points of interest in the artifices by which the intense +effect of calm is produced. Much is owing, in the first place, +to the amount of absolute gloom obtained by the local blackness +of the boats on the beach; like a piece of the midnight +left unbroken by the dawn. But more is owing to the +treatment of the distant harbor mouth. In general, throughout +nature, Reflection and Repetition are <i>peaceful</i> things; +that is to say, the image of any object, seen in calm water, +gives us an impression of quietness, not merely because we +know the water must be quiet in order to be reflective; but +because the fact of the repetition of this form is lulling to +us in its monotony, and associated more or less with an +idea of quiet succession, or reproduction, in events or things +throughout nature:—that one day should be like another +day, one town the image of another town, or one history the +repetition of another history, being more or less results of +quietness, while dissimilarity and non-succession are also, +more or less, results of interference and disquietude. And +thus, though an echo actually increases the quantity of +sound heard, its repetition of the notes or syllables of sound, +gives an idea of calmness attainable in no other way; hence +<span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span>the feeling of calm given to a landscape by the notes of the +cuckoo. Understanding this, observe the anxious <i>doubling</i> of +every object by a visible echo or shadow throughout this +picture. The grandest feature of it is the steep distant cliff; +and therefore the dualism is more marked here than elsewhere; +the two promontories or cliffs, and two piers below +them, being arranged so that the one looks almost like the +shadow of the other, cast irregularly on mist. In all probability, +the more distant pier would in reality, unless it is +very greatly higher than the near one, have been lowered +by perspective so as not to continue in the same longitudinal +line at the top,—but Turner will not have it so; he reduces +them to exactly the same level, so that the one looks like the +phantom of the other; and so of the cliffs above.</p> + +<p>Then observe, each pier has, just below the head of it, in +a vertical line, another important object, one a buoy, and the +other a stooping figure. These carry on the double group in +the calmest way, obeying the general law of vertical reflection, +and throw down two long shadows on the near beach. The +intenseness of the parallelism would catch the eye in a +moment, but for the lighthouse, which breaks the group and +prevents the artifice from being too open. Next come the +two heads of boats, with their two bowsprits, and the two +masts of the one farthest off, all monotonously double, but +for the diagonal mast of the nearer one, which again hides +the artifice. Next, put your finger over the white central +figure, and follow the minor incidents round the beach; first, +under the lighthouse, a stick, with its echo below a little to +the right; above, a black stone, and its echo to the right; +under the white figure, another stick, with its echo to the left; +then a starfish,<a name="FNanchor_X_24" id="FNanchor_X_24"></a><a href="#Footnote_X_24" class="fnanchor">[X]</a> and a white spot its echo to the left; then +a dog, and a basket to double its light; above, a fisherman, +and his wife for an echo; above them, two lines of curved +<span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span>shingle; above them, two small black figures; above them, +two unfinished ships, and two forked masts; above the forked +masts, a house with two gables, and its echo exactly over it +in two gables more; next to the right, two fishing-boats with +sails down; farther on, two fishing-boats with sails up, each +with its little white reflection below; then two larger ships, +which, lest his trick should be found out, Turner puts a dim +third between; then below, two fat colliers, leaning away +from each other, and two thinner colliers, leaning towards +each other; and now at last, having doubled everything all +round the beach, he gives one strong single stroke to gather +all together, places his solitary central white figure, and the +Calm is complete.</p> + +<p>It is also to be noticed, that not only the definite repetition +has a power of expressing serenity, but even the slight sense +of <i>confusion</i> induced by the continual doubling is useful; +it makes us feel not well awake, drowsy, and as if we were +out too early, and had to rub our eyes yet a little, before we +could make out whether there were really two boats or one.</p> + +<p>I do not mean that every means which we may possibly +take to enable ourselves to see things double, will be always +the most likely to insure the ultimate tranquillity of the +scene, neither that any such artifice as this would be of avail, +without the tender and loving drawing of the things themselves, +and of the light that bathes them; nevertheless the +highest art is full of these little cunnings, and it is only by +the help of them that it can succeed in at all equaling the +force of the natural impression.</p> + +<p>One great monotony, that of the successive sigh and vanishing +of the slow waves upon the sand, no art can render to +us. Perhaps the silence of early light, even on the "field dew +consecrate" of the grass itself, is not so tender as the lisp +of the sweet belled lips of the clear waves in their following +patience. We will leave the shore as their silver fringes +fade upon it, desiring thus, as far as may be, to remember +the sea. We have regarded it perhaps too often as an enemy +<span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span>to be subdued; let us, at least this once, accept from it, and +from the soft light beyond the cliffs above, the image of the +state of a perfect Human Spirit,—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"The memory, like a cloudless air,<br /></span> +<span class="i0">The conscience, like a sea at rest."<br /></span> +</div></div> + + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> To ornament the covers of these parts, Turner designed a vignette, +which was printed upon the center of the front wrapper of each. As +<i>The Ports of England</i> is an exceptionally scarce book, and as the +vignette can be obtained in no other form, a facsimile of it is here +given. The original drawing was presented by Mr. Ruskin to the Fitz-William +Museum, at Cambridge, where it may now be seen.</p></div> + +<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> By this time (1877) the plates had become considerably worn, and +were accordingly "retouched" by Mr. Chas. A. Tomkins. But such +retouching proved worse than useless. The delicacy of the finer work +had entirely vanished, and the plates remained but a ghost of their +former selves, such as no one would recognize as doing justice to +Turner. The fifth is unquestionably the least satisfactory of the five +original editions containing Lupton's engravings.</p></div> + +<div class="footnote"><p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> Mr. E. Gambart (who is still living) states that, to the best of his +recollection, he paid Mr. Ruskin 150 guineas for his work. Probably +this was the price originally agreed upon, the two Turner drawings +being ultimately accepted as a more welcome and appropriate form of +remuneration.</p></div> + +<div class="footnote"><p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4"><span class="label">[D]</span></a> See <i>post</i>, p. 19.</p></div> + +<div class="footnote"><p><a name="Footnote_E_5" id="Footnote_E_5"></a><a href="#FNanchor_E_5"><span class="label">[E]</span></a> See <i>Præterita</i>. She died March 30th, 1871.</p></div> + +<div class="footnote"><p><a name="Footnote_F_6" id="Footnote_F_6"></a><a href="#FNanchor_F_6"><span class="label">[F]</span></a> The accompanying illustration is a facsimile of the portion of the +proof-sheet described above—slightly reduced to fit the smaller page.</p></div> + +<div class="footnote"><p><a name="Footnote_G_7" id="Footnote_G_7"></a><a href="#FNanchor_G_7"><span class="label">[G]</span></a> See <i>post</i>, p. 3.</p></div> + +<div class="footnote"><p><a name="Footnote_H_8" id="Footnote_H_8"></a><a href="#FNanchor_H_8"><span class="label">[H]</span></a> Portsmouth, Sheerness, Scarborough, and Whitby.</p></div> + +<div class="footnote"><p><a name="Footnote_I_9" id="Footnote_I_9"></a><a href="#FNanchor_I_9"><span class="label">[I]</span></a> Prologue to <i>Peter Bell</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_J_10" id="Footnote_J_10"></a><a href="#FNanchor_J_10"><span class="label">[J]</span></a> <i>In Memoriam</i>, ci.</p></div> + +<div class="footnote"><p><a name="Footnote_K_11" id="Footnote_K_11"></a><a href="#FNanchor_K_11"><span class="label">[K]</span></a> I am not quite sure of this, not having studied with any care the +forms of mediæval shipping; but in all the MSS. I have examined the +sails of the shipping represented are square.</p></div> + +<div class="footnote"><p><a name="Footnote_L_12" id="Footnote_L_12"></a><a href="#FNanchor_L_12"><span class="label">[L]</span></a> It is not a little strange that in all the innumerable paintings of +Venice, old and modern, no notice whatever had been taken of these +sails, though they are <i>exactly</i> the most striking features of the marine +scenery around the city, until Turner fastened upon them, painting +one important picture, "The Sun of Venice," entirely in their illustration.</p></div> + +<div class="footnote"><p><a name="Footnote_M_13" id="Footnote_M_13"></a><a href="#FNanchor_M_13"><span class="label">[M]</span></a> Thomas Hood.</p></div> + +<div class="footnote"><p><a name="Footnote_N_14" id="Footnote_N_14"></a><a href="#FNanchor_N_14"><span class="label">[N]</span></a> As in the very beautiful picture of this year's Academy, "The +Abandoned."</p></div> + +<div class="footnote"><p><a name="Footnote_O_15" id="Footnote_O_15"></a><a href="#FNanchor_O_15"><span class="label">[O]</span></a> The catenary and other curves of tension which a sail assumes +under the united influence of the wind, its own weight, and the particular +tensions of the various ropes by which it is attached, or against +which it presses, show at any moment complexities of arrangement to +which fidelity, except after the study of a lifetime, is impossible.</p></div> + +<div class="footnote"><p><a name="Footnote_P_16" id="Footnote_P_16"></a><a href="#FNanchor_P_16"><span class="label">[P]</span></a> "The town of Lyons, seated upon a chariot drawn by two lions, +<i>lifts its eyes towards heaven</i>, and admires there—'les nouveaux Epoux,'—represented +in the character of Jupiter and Juno."—<i>Notice des Tableaux +du Musée Impérial</i>, 2nde partie, Paris, 1854, p. 235. +</p><p> +"The Queen upon her throne holds with one hand the scepter, in the +other the balance. Minerva and Cupid are at her sides. Abundance +and Prosperity distribute metals, laurels, 'et d'autres récompenses,' +to the Genii of the Fine Arts. Time, crowned with the productions of +the seasons, leads France to the—Age of Gold!"—p. 239. +</p><p> +So thought the Queen, and Rubens, and the Court. Time himself, +"crowned with the productions of the seasons," was, meanwhile, as +Thomas Carlyle would have told us, "quite of another opinion." +</p><p> +With view of arrival at Golden Age all the sooner, the Court determine +to go by water; "and Marie de Medicis gives to her son the government +of the state, under the emblem of a vessel, of which he holds the +rudder." +</p><p> +This piece of royal pilotage, being on the whole the most characteristic +example I remember of the Mythological marine above alluded +to, is accordingly recommended to the reader's serious attention.</p></div> + +<div class="footnote"><p><a name="Footnote_Q_17" id="Footnote_Q_17"></a><a href="#FNanchor_Q_17"><span class="label">[Q]</span></a> See the farther explanation of this practice in the notice of the +subject of "Portsmouth."</p></div> + +<div class="footnote"><p><a name="Footnote_R_18" id="Footnote_R_18"></a><a href="#FNanchor_R_18"><span class="label">[R]</span></a> I think I shall be generally more intelligible by explaining what +I mean in this way, and run less chance of making myself ridiculous +in the eyes of sensible people, than by displaying the very small nautical +knowledge I possess. My sailor friends will perhaps be gracious +enough to believe that I <i>could</i> call these sails by their right names if +I liked.</p></div> + +<div class="footnote"><p><a name="Footnote_S_19" id="Footnote_S_19"></a><a href="#FNanchor_S_19"><span class="label">[S]</span></a> I have discovered, since this was written, that the design was made +from a vigorous and interesting sketch by Mr. S. Cousins, in which the +rainbow and most of the ships are already in their places. Turner was, +therefore, in this case, as I have found him in several other instances, +realizing, not a fact seen by himself, but a fact as he supposed it to +have been seen by another.</p></div> + +<div class="footnote"><p><a name="Footnote_T_20" id="Footnote_T_20"></a><a href="#FNanchor_T_20"><span class="label">[T]</span></a> It was left unfinished at his death, and I would not allow it to be +touched afterwards, desiring that the series should remain as far as +possible in an authentic state.</p></div> + +<div class="footnote"><p><a name="Footnote_U_21" id="Footnote_U_21"></a><a href="#FNanchor_U_21"><span class="label">[U]</span></a> The sail seen, edge on, like a white sword, at the head of the ship.</p></div> + +<div class="footnote"><p><a name="Footnote_V_22" id="Footnote_V_22"></a><a href="#FNanchor_V_22"><span class="label">[V]</span></a> Not, let me say with all due honor to him, the careful and skillful +engraver of these plates, who has been much more tormented than +helped by Turner's alterations.</p></div> + +<div class="footnote"><p><a name="Footnote_W_23" id="Footnote_W_23"></a><a href="#FNanchor_W_23"><span class="label">[W]</span></a> <i>Modern Painters</i>, vol. iv. chap. 1.</p></div> + +<div class="footnote"><p><a name="Footnote_X_24" id="Footnote_X_24"></a><a href="#FNanchor_X_24"><span class="label">[X]</span></a> I have mentioned elsewhere that Turner was fond of this subject +of Scarborough, and that there are four drawings of it by him, if not +more, under different effects, having this much common to the four, +that there is always a starfish on the beach.</p></div> + +</div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Harbours of England, by John Ruskin + +*** END OF THIS PROJECT GUTENBERG EBOOK THE HARBOURS OF ENGLAND *** + +***** This file should be named 21591-h.htm or 21591-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/1/5/9/21591/ + +Produced by Juliet Sutherland, LN Yaddanapudi and the +Online Distributed Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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