Sunny Memories of Foreign Lands, Volume 2. Гарриет Бичер-СтоуЧитать онлайн книгу.
can be loaned to those desiring to emigrate. This society makes it an object to cultivate acquaintance and intimacy among those about going out by uniting them into groups, and, as far as possible, placing orphan children and single females under the protection of families. Any one, by subscribing six guineas towards the loan, can secure one passage. Each individual becomes responsible for refunding his own fare, and, furthermore, to pay a certain assessment in case any individual of the group fails to make up the passage money. The sailing of emigrant ships, therefore, has become a scene of great interest. Those departing do not leave their native shore without substantial proofs of the interest and care of the land they are leaving.
In the party who were going down to-day were Mr. and Mrs. Binney, Mr. Sherman, and a number of distinguished names; among whom I recollect to have heard the names of Lady Hatherton, and Lady Byron, widow of the poet. This would have been an exceedingly interesting scene to us, but being already worn with company and excitement, we preferred a quiet day at Windsor.
For if we took Warwick as the representative feudal estate, we took Windsor as the representative palace, that which imbodies the English idea of royalty. Apart from this, Windsor has been immortalized by the Merry Wives; it has still standing in its park the Herne oak, where the mischievous fairies played their pranks upon old Falstaff.
And the castle still has about it the charm of the poet's invocation:—
"Search Windsor Castle, elves, within, without,
Strew good luck, ouphes, on every sacred room,
That it may stand till the perpetual doom
In state as wholesome as in state 'tis fit,
Worthy the owner, and the owner it.
The several chairs of order, look you, scour
With juice of balm and every precious flower,
Each fair instalment, coat, and several crest,
With loyal blazon evermore be blest.
And nightly, meadow fairies, look you, sing
Like to the garter's compass, in a ring.
The expressure that it bears, green let it be,
More fertile, fresh, than all the field to see,
And Honi soit qui mal y pense, write
In emerald tufts, flowers, purple, blue, and white,
Like sapphire, pearl, and rich embroidery,
Fairies use flowers for their charactery."
As if for the loyal purpose of recommending old Windsor, the English skies had cleared up into brightness. About nine o'clock we found ourselves in the cars, riding through a perpetual garden of blooming trees and blossoming hedges; birds in a perfect fury of delight. Our spirits were all elated. Good, honest, cackling Mrs. Quickly herself was not more disposed to make the best of every thing and every body than were we. Mr. S., in particular, was so joyous that I was afraid he would break out into song, after the fashion of Sir Hugh Evans,—
"Melodious birds sung madrigals:
Whenas I sat in Babylon," &c.
By the by, the fishing ground of Izaak Walton is one of the localities connected with Windsor.
The ride was done all too soon. One should not whirl through such a choice bit of England in the cars; one should rather wish to amble over the way after a sleepy, contemplative old horse, as we used to make rural excursions in New England ere yet railroads were. However, all that's bright must fade, and this among the rest.
About eleven o'clock we found ourselves going up the old stone steps to the castle. It was the last day of a fair which had been holden in this part of the country, and crowds of the common people were flocking to the castle, men, women, and children pattering up the stairs before and after us.
We went first through the state apartments. The principal thing that interested me was the ball room, which was a perfect gallery of Vandyke's paintings. Here was certainly an opportunity to know what Vandyke is. I should call him a true court painter—a master of splendid conventionalities, whose portraits of kings are the most powerful arguments for the divine right I know of. Nevertheless, beyond conventionality and outward magnificence, his ideas have no range. He suggests nothing to the moral and ideal part of us. Here again was the picture of King Charles on horseback, which had interested me at Warwick. It had, however, a peculiar and romantic charm from its position at the end of that long, dim corridor, vis-a-vis with the masque of Cromwell, which did not accompany it here, where it was but one among a set of pictures.
There was another, presenting the front side and three quarters face of the same sovereign, painted by Vandyke for Benini to make a bust from. There were no less than five portraits of his wife, Henrietta Maria, in different dresses and attitudes, and two pictures of their children. No sovereign is so profusely and perseveringly represented.
The queen's audience chamber is hung with tapestry representing scenes from the book of Esther. This tapestry made a very great impression upon me. A knowledge of the difficulties to be overcome in the material part of painting is undoubtedly an unsuspected element of much of the pleasure we derive from it; and for this reason, probably, this tapestry appeared to us better than paintings executed with equal spirit in oils. We admired it exceedingly, entirely careless what critics might think of us if they knew it.
Another room was hung with Gobelin tapestry representing the whole of the tragedy of Medea. First you have Jason cutting down the golden fleece, while the dragon lies slain, and Medea is looking on in admiration. In another he pledges his love to Medea. In a third, the men sprung from the dragon's teeth are seen contending with each other. In another the unfaithful lover espouses Creusa. In the next Creusa is seen burning in the poisoned shirt, given her by Medea. In another Medea is seen in a car drawn by dragons, bearing her two children by Jason, whom she has stabbed in revenge for his desertion. Nothing can exceed the ghastly reality of death, as shown in the stiffened limbs and sharpened features of those dead children. The whole drawing and grouping is exceedingly spirited and lifelike, and has great power of impression.
I was charmed also by nine landscapes of Zuccarelli, which adorn the state drawing room. Zuccarelli was a follower of Claude, and these pictures far exceed in effect any of Claude's I have yet seen. The charm of them does not lie merely in the atmospheric tints and effects, as those of Cuyp, but in the rich and fanciful combination of objects. In this respect they perform in painting what the first part of the Castle of Indolence, or Tennyson's Lotus Eaters, do in poetry— evoke a fairyland. There was something peculiar about their charm for me.
Who can decide how much in a picture belongs to the idiosyncrasies and associations of the person who looks upon it. Artists undoubtedly powerful and fine may have nothing in them which touches the nervous sympathies and tastes of some persons: who, therefore, shall establish any authoritative canon of taste? who shall say that Claude is finer than Zuccarelli, or Zuccarelli than Claude? A man might as well say that the woman who enchants him is the only true Venus for the world.
Then, again, how much in painting or in poetry depends upon the frame of mind in which we see or hear! Whoever looks on these pictures, or reads the Lotus Eaters or Castle of Indolence, at a time when soul and body are weary, and longing for retirement and rest, will receive an impression from them such as could never be made on the strong nerves of our more healthful and hilarious seasons.
Certainly no emotions so rigidly reject critical restraints, and disdain to be bound by rule, as those excited by the fine arts. A man unimpressible and incapable of moods and tenses, is for that reason an incompetent critic; and the sensitive, excitable man, how can he know that he does not impose his peculiar mood as a general rule?
From the state rooms we were taken to the top of the Hound Tower, where we gained a magnificent view of the Park of Windsor, with its regal avenue, miles in length, of ancient oaks; its sweeps of greensward; clumps of trees; its old Herne oak, of classic memory; in short, all that constitutes the idea of a perfect English landscape. The English tree is shorter and stouter than ours; its foliage dense and deep, lying with a full, rounding outline against the sky. Every thing here conveys the idea of concentrated vitality,