For that summer there was no hurry to be gone; rest was more needed than change, at first. Late in September the same family-party crossed the sea to Calais. How different a voyage for them all from the merry departures of bygone Maytides! Which way should they turn? Not to Paris, for _there_ was the cause of all these ills; so they went straight southwards, through Normandy to the Loire, and saw the chateaux and churches from Orleans to Tours, famous for their Renaissance architecture and for the romance of their chivalric history. Amboise especially made a strong impression upon the languid and unwilling invalid. It stirred him up to write, in easy verse, the tale of love and death that his own situation too readily suggested. In "The Broken Chain" he indulged his gloomy fancy, turning, as it was sure to do, into a morbid nightmare of mysterious horror, not without reminiscence of Coleridge's "Christabel." But through it all he preserved, so to speak, his dramatic incognito; his own disappointment and his own antic.i.p.ated death were the motives of the tale, but treated in such a manner as not to betray his secret, nor even to wound the feelings of the lady who now was beyond appeal from an honourable lover--taking his punishment like a man.

This poem lasted him, for private writing, all through that journey--a fit emblem of the broken life which it records. A healthier source of distraction was his drawing, in which he had received a fresh impetus from the exhibition of David Roberts' sketches in the East. More delicate than Prout's work, entering into the detail of architectural form more thoroughly, and yet suggesting chiaroscuro with broad washes of quiet tone and touches of light, cleverly introduced--"that marvellous _pop_ of light across the foreground," Harding said of the picture of the Great Pyramid--these drawings were a mean between the limited manner of Prout and the inimitable fulness of Turner Ruskin took up the fine pencil and the broad brush, and, with that blessed habit of industry which has helped so many a one through times of trial, made sketch after sketch on the half-imperial board, finished just so far as his strength and time allowed, as they pa.s.sed from the Loire to the mountains of Auvergne; and to the valley of the Rhone, and thence slowly round the Riviera to Pisa and Florence and Rome.

He was not in a mood to sympathize readily with the enthusiasms of other people. They expected him to be delighted with the scenery, the buildings, the picture-galleries of Italy, and to forget himself in admiration. He did admire Michelangelo; and he was interested in the back-streets and slums of the cities. Something piquant was needed to arouse him; the mild ecstasies of common connoisseurship hardly appeal to a young man between life and death. He met the friends to whom he had brought introductions--Mr. Joseph Severn, who had been Keats' companion, and was afterwards to be the genial Consul at Rome, and the two Messrs.

Richmond, then studying art in the regular professional way; one of them to become a celebrated portrait-painter, and the father of men of mark.

But his views on art were not theirs; he was already too independent and outspoken in praise of his own heroes, and too sick in mind and body to be patient and to learn.

They had not been a month in Rome before he took the fever. As soon as he was recovered, they went still farther South, and loitered for a couple of months in the neighbourhood of Naples, visiting the various scenes of interest--Sorrento, Amalfi, Salerno. The adventures of this journey are partly told in letters to Mr. Dale, and in the "Letters addressed to a College Friend."

On the way to Naples he had noted and sketched the winter scene at La Riccia, which he afterwards used for a glowing pa.s.sage in "Modern Painters"; and he had ventured into a village of brigands to draw such a castle as he had once imagined in his "Leoni." From Naples he wrote an account of a landslip near Giagnano, and sent it home to the Ashmolean Society. He seemed better; they turned homewards, when suddenly he was seized with all the old symptoms worse than ever. After another month at Rome, they travelled slowly northwards from town to town; spent ten days of May at Venice, and pa.s.sed through Milan and Turin, and over the Mont Cenis to Geneva.

At last he was among the mountains again--the Alps that he loved. It was not only that the air of the Alps braced him, but the spirit of mountain-worship stirred him as nothing else could. At last he seemed himself, after more than a year of intense depression; and he records that one day, in church at Geneva, he resolved to _do_ something, to _be_ something useful. That he could make such a resolve was a sign of returning health; but if, as I find, he had just been reading Carlyle's lately-published lectures on "Heroes," though he did not then accept Carlyle's conclusions nor admire his style, might he not, in spite of his criticism, have been spurred the more into energy by that enthusiastic gospel of action?

They travelled home by Basle and Laon; but London in August, and the premature attempt to be energetic, brought on a recurrence of the symptoms of consumption, as it was called. He wished to try the mountain-cure again, and set out with his friend Richard Fall for a tour in Wales. But his father recalled him to Leamington to try iron and dieting under Dr. Jephson, who, if he was called a quack, was a sensible one, and successful in subduing for several years to come the more serious phases of the disease. The patient was not cured; he suffered from time to time from his chest, and still more from a weakness of the spine, which during all the period of his early manhood gave him trouble, and finished by bending his tall and lithe figure into something that, were it not for his face, would be deformity. In 1847 he was again at Leamington under Jephson, in consequence of a relapse into the consumptive symptoms, after which we hear no more of it. He outgrew the tendency, as so many do. But nevertheless the alarm had been justifiable, and the malady had left traces which, in one way and another, haunted him ever after; for one of the worst effects of illness is to be marked down as an invalid.

At Leamington, then, in September, 1841, he was finding a new life under the doctor's dieting, and new aims in life, which were eventually to resolder for a while the broken chain. Among the Scotch friends of the Ruskins there was a family at Perth whose daughter came to visit at Herne Hill--the Effie Gray whom afterwards he married. She challenged the melancholy John, engrossed in his drawing and geology, to write a fairytale, as the least likely task for him to fulfil. Upon which he produced, at a couple of sittings, "The King of the Golden River," a pretty medley of Grimm's grotesque and d.i.c.kens' kindliness and the true Ruskinian ecstasy of the Alps.

CHAPTER X

THE GRADUATE OF OXFORD (1841-1842)

Ready for work again, and in reasonable health of mind and body, John Ruskin sat down in his little study at Herne Hill in November, 1841, with his private tutor, Osborne Gordon. There was eighteen months'

leeway to make up, and the dates of ancient history, the details of schematized Aristotelianism, soon slip out of mind when one is sketching in Italy. But he was more serious now about his work, and aware of his deficiencies. To be useful in the world, is it not necessary first to understand all possible Greek constructions? So said the voice of Oxford; but our undergraduate was saved, both now and afterwards, from this vain ambition. "I think it would hardly be worth your while," said Gordon.

He could not now go in for honours, for the lost year had superannuated him. So in April he went up for a pa.s.s. In those times, when a pa.s.s-man showed unusual powers, they could give him an honorary cla.s.s; not a high cla.s.s, because the range of the examination was less than in the honour-school. This candidate wrote a poor Latin prose, it seems; but his divinity, philosophy, and mathematics were so good that they gave him the best they could--an honorary double fourth--upon which he took his B.A. degree, and could describe himself as "A Graduate of Oxford."

The continued weakness of his health kept him from taking steps to enter the Church; and his real interest in art was not crowded out even by the last studies for his examination. While he was working with Gordon, in the autumn of 1841, he was also taking lessons from J.D. Harding; and the famous study of ivy, his first naturalistic sketching, to which we must revert, must have been done a week or two before going up for his examination.

The lessons from Harding were a useful counter-stroke to the excessive and exaggerated Turnerism in which he had been indulging through his illness. The drawings of Amboise, the coast of Genoa, and the Glacier des Bois, though published later, were made before he had exchanged fancy for fact; and they bear, on the face of them, the obvious marks of an unhealthy state of mind. Harding, whose robust common-sense and breezy mannerism endeared him to the British amateur of his generation, was just the man to correct any morbid tendency. He had religious views in sympathy with his pupil, and he soon inoculated Ruskin with his contempt for the minor Dutch school--those bituminous landscapes, so unlike the sparkling freshness that Harding's own water-colour ill.u.s.trated, and those vulgar tavern scenes, painted, he declared, by sots who disgraced art alike in their works and in their lives.

Until this epoch, John Ruskin had found much that interested him in the Dutch and Flemish painters of the seventeenth century. He had cla.s.sed them all together as the school of which Rubens, Vandyck and Rembrandt were the chief masters, and those as names to rank with Raphael and Michelangelo and Velasquez. He was a humorist, not without boyish delight in a good Sam-Wellerism, and so could be amused with the "drolls," until Harding appealed to his religion and morality against them. He was a chiaroscurist, and not naturally offended by their violent light and shade, until George Richmond showed him the more excellent way in colour, the glow of Venice, first hinting it at Rome in 1840, and then proving it in London in the spring of 1842 from Samuel Rogers' treasures, of which the chief (now in the National Gallery) was the "Christ appearing to the Magdalen."

Much as the author of "Modern Painters" owed to these friends and teachers, and to the advantages of his varied training, he would never have written his great work without a further inspiration. Harding's especial forte was his method of drawing trees. He looked at Nature with an eye which, for his period, was singularly fresh and unprejudiced; he had a strong feeling for truth of structure as well as for picturesque effect, and he taught his pupils to observe as well as to draw. But in his own practice he rested too much on _having observed_; formed a style, and copied himself if he did not copy the old masters; Hence he held to rules of composition and conscious graces of arrangement; and while he taught naturalism in study, he followed it up with teaching artifice in practice.

Turner, who was not a drawing-master, lay under no necessity to formulate his principles and stick to them. On the contrary, his style developed like a kaleidoscope. He had been in Switzerland and on the Rhine in 1841, "painting his impressions," making water-colour notes from memory of effects that had struck him. From one of these, "Splugen," he had made a finished picture, and now wished to get commissions for more of the same cla.s.s. Ruskin was greatly interested in this series, because they were not landscapes of the ordinary type, scenes from Nature squeezed into the mould of recognised artistic composition, nor, on the other hand, mere photographic transcripts; but dreams, as it were, of the mountains and sunsets, in which Turner's wealth of detail was suggested, and his knowledge of form expressed, together with the unity which comes of the faithful record of a single impression.

The lesson was soon enforced upon Ruskin's mind by example. One day, while taking his student's const.i.tutional, he noticed a tree-stem with ivy upon it, which seemed not ungraceful, and invited a sketch. As he drew he fell into the spirit of its natural arrangement, and soon perceived how much finer it was as a piece of design than any conventional rearrangement would be. Harding had tried to show him how to generalize foliage; but in this example he saw that not generalization was needed to get its beauty, but truth.

At Fontainebleau soon after, in much the same circ.u.mstances, a study of an aspen-tree, idly begun, but carried out with interest and patience, confirmed the principle. At Geneva, once more in the church where he had formed such resolutions the year before, the desire came over him with renewed force; now not only to be definitely employed, but to be employed in the service of a definite mission, which was, in art, exactly what Carlyle had preached in every other sphere of life in that book of "Heroes": the gospel of sincerity.

The design took shape. At Chamouni he studied plants and rocks and clouds, not as an artist to make pictures out of them, nor as a scientist to cla.s.s them and a.n.a.lyze them; but to learn their aspects and enter into the spirit of their growth and structure. And though on his way home through Switzerland and down the Rhine he made a few drawings in his old style for admiring friends, they were the last of the kind that he attempted. Thenceforward his path was marked out; he had found a new vocation. He was not to be a poet--that was too definitely bound up with the past which he wanted to forget, and with conventionalities which he wished to shake off; not to be an artist, strugging with the rest to please a public which he felt himself called upon to teach; not a man of science, for his botany and geology were to be the means, and not the ends, of his teaching; but the mission was laid upon him to tell the world that Art, no less than other spheres of life, had its Heroes; that the mainspring of their energy was Sincerity, and the burden of their utterance, Truth.

BOOK II

THE ART CRITIC

(1842-1860)

CHAPTER I

"TURNER AND THE ANCIENTS" (1842-1844)

The neighbour, or the Oxonian friend, who climbed the steps of the Herne Hill house and called upon Mrs. Ruskin, in the autumn and winter of 1842, would learn that Mr. John was hard at work in his own study overhead. Those were its windows, on the second-floor, looking out upon the front-garden; the big dormer-window above was his bedroom, from which he had his grand view of lowland, and far horizon, and unconfined sky, comparatively clear of London smoke. In the study itself, screened from the road by russet foliage and thick evergreens, great things were going on. But Mr. John could be interrupted, would come running lightly downstairs, with both hands out to greet the visitor; would show the pictures, eagerly demonstrating the beauties of the last new Turners, "Ehrenbreitstein" and "Lucerne," just acquired, and antic.i.p.ating the sunset glories and mountain gloom of the "Goldau" and "Dazio Grande,"

which the great artist was "realizing" for him from sketches he had chosen at Queen Anne Street. He was very busy--but never too busy to see his friends--writing a book. And, the visitor gone, he would run up to his room and his writing.

In the afternoon his careful mother would turn him out for a tramp round the Norwood lanes; he might look in at the Poussins and Claudes of the Dulwich Gallery, or, for a longer excursion, go over to Mr. Windus, and his roomful of Turner drawings, or sit to George Richmond for the portrait at full length with desk and portfolio, and Mont Blanc in the background. Dinner over, another hour or two's writing, and early to bed, after finishing his chapter with a flourish of eloquence, to be read next morning at breakfast to father and mother and Mary. The vivid descriptions of scenes yet fresh in their memory, or of pictures they treasured, the "thoughts" as they used to be called, allusions to sincere beliefs and cherished hopes, never failed to win the praise that pleased the young writer most, in happy tears of unrestrained emotion.

These old-fashioned folk had not learnt the trick of _nil admirari._ Quite honestly they would say, with the German musician, "When I hear good music, then must I always weep."

We can look into the little study and see what this writing was that went on so busily and steadily. It was the long-meditated defence of Turner, provoked by _Blackwood's Magazine_ six years before, encouraged by Carlyle's "Heroes," and necessitated by the silence, on this topic, of the more enlightened leaders of thought in an age of connoisseurship and cant.

And as the winter ran out, he was ending his work, happy in the applause of his little domestic circle, and conscious that he was preaching the crusade of Sincerity, the cause of justice for the greatest landscape artist of any age, and justice, at the hands of a heedless public, for the glorious works of the supreme Artist of the universe. Let our young painters, he concluded, go humbly to Nature, "rejecting nothing, selecting nothing, and scorning nothing," in spite of Academic theorists, and in time we should have a school of landscape worthy of the inspiration they would find.

There was his book; the t.i.tle of it, "Turner and the Ancients." Before publishing, to get more experienced criticism than that of the breakfast-table, he submitted it to his friend, W.H. Harrison. The t.i.tle, it seemed, was not explicit enough, and after debate they subst.i.tuted "Modern Painters: their Superiority in the Art of Landscape Painting to all the Ancient Masters proved by Examples of the True, the Beautiful, and the Intellectual, from the Works of Modern Artists, especially from those of J.M.W. Turner, Esq., R.A." And as the severe tone of many remarks was felt to be hardly supported by the age and standing of so young an author, he was content to sign himself "A Graduate of Oxford." The book was spoken of, but no part of the copy shown, to John Murray, who said he would prefer something about German art. It found immediate acceptance with Messrs. Smith and Elder. Young Ruskin had been doing business for seven years past with that firm; he was well known to them as one of the most "rising" youths of the time, and their own literary editor, Mr. Harrison, was his private Mentor, who revised his proofs and inserted the punctuation, which he usually indicated only by dashes. His dealings with the publishers were generally conducted through his father, who made very fair terms for him, as things went then.

In May, 1843, "Modern Painters," vol. i., was published, and it was soon the talk of the art-world. It was meant to be audacious, and naturally created a storm. The free criticisms of public favourites made an impression, not because they were put into strong language, for the tone of the press was stronger then than it is now, as a whole, but because they were backed up by ill.u.s.tration and argument. It was evident that the author knew something of his subject, even if he were all wrong in his conclusions. He could not be neglected, though he might be protested against, decried, controverted. Artists especially, who do not usually see their works as others see them, and are not accustomed to think of themselves and their school as mere dots and spangles in a perspective of history, could not be entirely content to be cla.s.sed as Turner's satellites. And while the book contained something that promised to suit every kind of reader everyone found something to shock him. Critics were scandalized at the depreciation of Claude; the religious were outraged at the comparison of Turner, in a pa.s.sage omitted from later editions, to the Angel of the Sun in the Apocalypse.

But the descriptive pa.s.sages were such as had never appeared before in prose; and the obvious usefulness of the a.n.a.lyses of natural form and effect made many an artist read on, while he shook his head. Some readily owned their obligation to the new teacher. Holland, for one, wrote to Harrison that he meant to paint the better for the snubbing he had got. Of such as reviewed the book adversely in _Blackwood_ and the _Athenaeum_, not one undertook to refute it seriously. They merely attacked a detail here and there, which the author discussed in two or three replies, with a patience that showed how confident he was in his position.

He had the good word of some of the best judges of literature. "Modern Painters" lay on Rogers' table; and Tennyson, who a few years before had beaten young Ruskin out of the field of poetry, was so taken with it that he wrote to his publisher to borrow it for him, "as he longed very much to see it," but could not afford to buy it. Sir Henry Taylor wrote to Aubrey de Vere, the poet, begging him to read:

"A book which seems to me to be far more deeply founded in its criticism of art than any other that I have met with ... written with great power and eloquence, and a spirit of the most diligent investigation.... I am told that the author's name is Ruskin, and that he was considered at college as an odd sort of man who would never do anything."

A second edition appeared within 12 months. When the secret of the "Oxford Graduate" leaked out, as it did very soon, through the proud father, Mr. John was lionized. During the winter of 1843 he met celebrities at fashionable dinner-tables; and now that his parents were established in their grander house on Denmark Hill,[1] they could duly return the hospitalities of the great world.

[Footnote 1: To which they removed in October, 1842.]

It was one very satisfactory result of the success that the father was more or less converted to Turnerism, and lined his walls with Turner drawings, which became the great attraction of the house, far outshining its seven acres of garden and orchard and shrubbery, and the ampler air of cultured ease. For a gift to his son he bought "The Slave Ship," one of Turner's latest and most disputed works; and he was all eagerness to see the next volume in preparation.

It was intended to carry on the discussion of "Truth," with further ill.u.s.trations of mountain-form, trees and skies. And so in May, 1844, they all went away again, that the artist-author might prepare drawings for his plates. He was going to begin with the geology and botany of Chamouni, and work through the Alps, eastward.

At Chamouni they had the good fortune to meet with Joseph Coutet, a superannuated guide, whom they engaged to accompany the eager but inexperienced mountaineer. Coutet was one of those men of natural ability and kindliness whose friendship is worth more than much intercourse with worldly celebrities, and for many years afterwards Ruskin had the advantage of his care--of something more than mere attendance. At any rate, under such guidance, he could climb where he pleased, free from the feeling that people at home were anxious about him.

He was not unadventurous in his scramblings, but with no ambition to get to the top of everything. He wanted to observe the aspects of mountain-form; and his careful outlines, slightly coloured, as his manner then was, and never aiming at picturesque treatment, record the structure of the rocks and the state of the snow with more than photographic accuracy. A photograph often confuses the eye with unnecessary detail; these drawings seized the leading lines, the important features, the interesting points. For example, in his Matterhorn (a drawing of 1849), as Whymper remarks in "Scrambles among the Alps," there are particulars noted which the mere sketcher neglects, but the climber finds out, on closer intercourse, to be the essential facts of the mountain's anatomy. All this is not picture-making, but it is a valuable contribution and preliminary to criticism.

From Chamouni this year they went to Simplon, and met J.D. Forbes, the geologist, whose "viscous theory" of glaciers Ruskin adopted and defended with warmth later on, and to the Bell' Alp, long before it had been made a place of popular resort by Professor Tyndall's notice. The "Panorama of the Simplon from the Bell' Alp" is to be found in the St.

George's (Ruskin) Museum at Sheffield, as a record of his draughtsmanship in this period. Thence to Zermatt with Osborne Gordon; Zermatt, too, unknown to the fashionable tourist, and innocent of hotel luxuries. It is curious that, at first sight, he did not care for the Matterhorn. It was entirely unlike his ideal of mountains. It was not at all like c.u.mberland. But in a very few years he had come to love the Alps for their own sake, and we find him regretting at Ambleside the colour and light of Switzerland, the mountain glory which our humbler scenery cannot match. And yet he came back to it for a home, not ill-content.