From the Dublin University Magazine. GILCHRIST'S LIFE OF ETTY.* EVEN when the hero is a great artist, a life almost without incident or anecdote is difficult to the biographer. It is the conviction of her surpassing voice and fine musical talent, that forms the groundwork of our interest in Consuelo: but George Sand herself cannot bring these bodily into her pages, and has to fill them with inventions, attractive in great measure from the belief she creates in us, that her heroine is the Jenny Lind of a hundred years since. Mr. Gilchrist's task presents a similar perplexity, without opportunity of similar relief. Etty's pictures are essentially his life, and beyond the incidents of their production his biographer has little to tell us. This little, however, as we shall endeavor to set forth, contains it may be a lesson of no slight importance, and no frequency of exhibition. The difficulty of his task considered, and allowance made for the diffuseness of narrative natural to all narrators who do not combine the rarest genius with affection to their subject, Mr. Gilchrist has, we think, attained a success in this labor of love towards Etty's fair fame and memory in which, for his friend's sake above all, he cannot fail to find gratification. His defence for the peculiar direction of the painter's art we shall notice presently. Here and there occur small divergencies into matters of archæological conservatism, and lamentations over the demolished antiquities of York; and we find certain touches, satirical rather in aim than in execution, scattered against the Royal Academy, a royal patron of art, and the English attempts at fresco-painting he once patronized. That these are amongst the author's favorite passages, reason suggests; good taste, their omission. These trivialities however, and short notices of his family and his works excepted, Etty's own words, artless even on matters of art, are mainly left to tell his story. And granting Mr. Gilchrist-to return once more, Life of William Etty, R. A. By A. Gilchrist. Two Vola London: Bogue. 1855. in no unfriendly spirit to the editor-the license of a style, for good and for less good most successfully imitative of Carlyle, the book sets before us, with clearness, simplicity, and uncommon spirit, the picture of a life unfruitful of adventure, yet compensatingly rich in lessons, striking and worthy permanence, for students not of art only, These lessons resolve themselves, many will perhaps think, into a warning against the misapplication of genius. It is Etty's peculiar glory that he painted the human form with a power and a beauty unknown in art since the great days of Venice; it is also the point on which his admirers have found it most necessary to defend him. Mr. Leslie's apology, in the charming lectures just published, does not satisfy the biographer: "Otherwise appreciative," Mr. Gilchrist says, "it is disfigured by what from less honored lips we would call hopeless blundering on this head: criticism, in the Father of a family" spirit, of Etty's "rejection of draperies, and "peculiar treatment and choice of sub'ject." We do not think this quite fair to Leslie, who, while introducing the subject as one unquestionably debateable, is entirely just to the painter's purity of purpose, and confines his criticism to two remarks :—the fact, we believe undeniable, that Etty's display of form was not unfrequently, to coarse minds and the ignorant, the main recommendation of his pictures; and the expression of his own belief that "artificial objects" (draperies, in this instance) are not less poetic than "natural." The general question is, however, argued by Mr. Gilchrist with much spirit and insight, and a clear verdict of triumph for the artist, and reprobation for objectors brought in. We think that Etty's supposed demerit has been canvassed far beyond its importance, and if objectors be divided into prudes and hypocrites, we hold the defence set up abundantly valid. Yet, with Mr. Leslie, we do not think the question capable of such mathematical adjustment. Between conventional morality and genuine (under which Etty's critics and admirers are exhaustively classified by Mr. Gilchrist), a mixed virtue exists, supplying many with what would hardly be well exchanged for profession of open viciousness. All objectors are not prudes or bypocrites; but men sharing in that human weakness, that necessarily conventional virtue, which are the inheritance of those who have fallen from their "first naked glory." L'homme n'est ni ange, ni bête, mais homme. From the mass of spectators (incapable of high and unfearing judgment) until enrolled a master among the ancients, Etty will hardly receive admiration for the morale of his art, unalloyed and unhesitating. But enough of this: we turn to the moral of the artist's whole career. Few of Mr. Gilchrist's readers can, we think, have failed to recall the name of another English painter, William Etty's fellow-student, more fortunate in his biographer than in his life: then known mainly by a vigor of self-assertion not often accompanied by an absence so decided of productive power, now by the sad eloquence of Mr. Taylor's story. A contrast so complete has rarely added interest to two lives in themselves so interesting. The contradiction between the statesmanship of Cleon and the statesmanship of Pericles-between the art of Socrates and the art of Gorgiasis not more emphatic than between the principles that conducted Haydon to boastful words, and Etty to the "Cleopatra" and the "Proserpine;" that of these contemporaries led one to shame and despairing, another to modest labor, uncomplaining endurance, and a triumph by mortal endeavor seldom attainable. It was not, we think, from incommensurable difference between original endow ments that this contrast arose. Whilst Etty's command over Color was displaying itself in imitations of Lawrence, over Form in feeble classicality, Haydon had given in his "Judgment of Solomon" what might be held more than promise, though something short of fulfilment. The difference lay between their entire principles, the direction given to their genius, the mode in which their common art was by each regarded- the passion of one, the speaking-trumpet of his rival. But we need track no further the "road downwards." Goethe's axiom, "The first steps of ascent are easy, the absolute summit of last and most laborious conquest;" Tintoret's confession, "The study of painting is immeasurable, and that sea widening perpetually;" these severe truths anticipate and interpret Etty's feelings relative to his art, attested in many phrases of graceful modesty carried out during his whole artist-life, a forty years' apprenticeship to Nature. From the time when he "was looked on by his companions as a worthy, plodding person, but with no chance of ever becoming a good painter,"* to the year which was to number him with the great colorists of the past, he "sat working with the students of the Academy." It is true that his method in painting, intelligible even to the uninitiated in its perfect simplicity - that authentic "Venetian secret" whose mystery is common sense and straightforward practice-was fixed early in his career, and so maintained to the last. Readers will find the curious details t in Mr. Gilchrist's first volume. But in other respects Etty was always a student, beginning afresh where others ceased their studyas he said, "painting what he saw," recurring daily, as we have noticed, to delineation of the living model, and going direct to Nature for every slight and generalized background. Nor, while possessing a mastery over his art that few have surpassed, was he impatient of lingering for years over the conception and the finishing touches of a picture. We should not be surprised to learn that the reward of this energy was almost a lifetime of neglect. Prone to admire the hasty works that are congenial, as it were, to precipitate judgment, ignorant how vast the labor concentrated even in the meanest painting, could the crowd appreciate this devotion to truth, this patient and "star-like" advance, this high conscientiousness to his calling with which Etty toiled on, blessing God for the necessity of labor, that "some," he observes, call the "primeval curse?" In this age we hear much of "work" and of "earnestness:" Etty's life shows how far the age understands them. Lawrence might strike out his portrait during the compliments of an hour; but his pupil must apologize to sitters for the laborious length of performance from which thirty years of practice gave him no exemption. He regrets on such an occasion (vol. i. p. 361) he had it not in his power to render the task less tedious. "A mere likeness may be manufactured in a few sittings. If it is desirable to make a fine work of art as well as a resemblance, it becomes another affair. I am sure, if rightly viewed, the time will not be deemed uselessly employed. What is worth doing at all is worth doing well. Whatsoever thy hand findeth to do, do it with all thy might." The lesson conveyed in these simple words was | lected in 1849 within the Adelphi compelled practiced, and disregarded. Paintings such Dulness itself, "the gods' worst enemy," to Europe for two centuries had not produced the conviction of the master's greatness. the "Cupid sheltering his Darling," of 1822, The pictures we there saw (and with many the "Dance," of twenty years later; the masterpieces, the productions of Etty's "Hylas," the "Sirens," the "Sampson"-- tentative years, 1805-1819, were absent) fell were neglected or despised by crowd and into three main classes. The first, marked critic; and when the better judgment of by extreme, delicacy of tone and handling, the few at last forced its way, public praise, and a finish whose sweetness almost passed cold before unappreciated masterpieces, was into timidity, beginning with the "Coral satisfied to find in the failing execution of his Finders" of 1820, "Cleopatra" (1821), latest days, something that might justify "Cupid and his Darling" (1822), closed with what to dull impartiality seemed the fitting the bolder creations of the "Judith" (1827), alloy of censure. Before the last year of his the labor of Etty's own fortieth year. Execu life, Etty had scarcely secured even that tion more decisive, coloring more vivid and blind conviction of his genius which is all the contrasted, greater animation and variety in multitude can experience for minds above conception of human figures, distinguished them. That he felt this want of recognition the full maturity of the painter's power. the "Life" affords sufficient proof; yet the Here were the "Youth at the Prow and knowledge depressed him neither to com- "Phædria and Cymochles" of 1832, the plaint nor to indolence. Misunderstood and "Bridge of Sighs" (1835), the magnificent undervalued, with his great contemporary in "Sirens" and "Sampson" of 1837, the art, Etty stood far above the mere passion "Proserpine" (1839). Amongst all exhibfor fame, and by childlike simplicity and de-ited, this picture was perhaps the most repvotion to his task conquered that "last in-resentative of the main direction of Etty's firmity" which Turner suppressed by the proud sense that, like Nature herself, he was beyond the scope of human praise. "My life has been," Etty said, "spent in exertions to excel, struggles with difficulty, sometimes Herculean exertions, both of mind and body, mixed with poetic day-dreams and reveries by imaginary enchanted streams." These experiences were, no doubt, common to both; but more fortunate than Turner, Etty, before the peaceful close, could add, "It has been one long summer day;" lightened by the consolation of his own modest confidence, by the patient pursuit of his art, and the conviction of final mastery; and yet more, as we now read, by further blessings - the conscience void of reproach, the honor of friends, the love of children, the peace of home. This lesson is the chief result of Mr. Gilchrist's biography. For by the necessity of the case, as we observed before, he is compelled to describe the singer without giving the song; and the quotations from Etty's own letters and journals show that his genius was with the pencil, not with the pen. Yet it would be hardly just to exclude the paintings from our praise of the painter, or conclude even this brief notice of his life without allusion to the triumph reserved for its concluding summer. Seven years before, his exquisite Homeric Dance" had passed through the Exhibition, we remember, all but unvalued; but the series of works col 66 art: displaying preference for the human form above all other sources of pictorial interest, and this rendered with a glow and vitality that could alone justify preference so ambitious; the choice, with that aim, almost inevitable, of a subject from ancient mythology, not reproduced with a servile imitation of classical composition, but in a manner thoroughly characteristic, and the painter's own; and the landscape of astonishing force, and sympathy with the action, presented a style larger and bolder in treatment than his earlier work, more ideal at once, and more individual. Nor, although with proofs that the "vision and the faculty" had survived in some measure the eye that had grown dim, and the hand wearied by its over incessant cunning, were the ten years that remained deficient in their own triumphs. To this period belonged works exhibiting in many directions a mastery that few have attained by single and concentrated efforts the grace of the "Dance," and the pathos of the "Joan of Arc," the glorious color and grouping of the "Still Life," and the "Portrait of a Child," which Sir Joshua himself might have envied for force, and truth, and engaging sweetness. No exhibition of English paintings, so high in the highest qualities of art (for, without disparagement to that other branch, we must place Form above Landscape), could have been furnished, we thought, by one hand since those by Reynolds were last united. LITERARY MISCELLANIES. A HIGHLY interesting relic of the great Napoleon is now being exhibited. It is a volume of military maps, among which are several plans of battles drawn by the Emperor himself. This relic was left at an inn by the Emperor during his hasty retreat after the battle of Waterloo. The University of Konigsberg intends to erect a monument to the philosopher Kant, once the great ornament of that learned institution. It is to be a statue in bronze, and will be placed on the daily promenade of the great man, which, after him has been called "der Philosophensteig" (The Philosopher's path.) The English papers announce the death of HENRY COLBURN, Esq., the eminent and well-known London publisher. Mr. Colburn commenced his career with forming a circulating library in Conduit street, but, early laid the foundation by his zeal in the publication of works of sterling literature, of that important business in Great Marlborough street, from which he retired a year or two since in favor of Messrs. Hurst & Blackett. Mr. Colburn was the first publisher of the Literary Gazette, and the first book reviewed in that Journal, Jan 25th, 1817, was a volume of Private Correspondence of Benjamin Franklin, published by him. The Right Hon. T. B. MACAULAY, M. P., has presented an extensive and valuable donation of books to the library of the Edinburgh Philosophical Institution, of which he is President. The collection, which is handsomely bound, embraces some of the most important works in English history and lit erature. The Parliamentary library of the late Joseph Hume, Esq., was bequeathed by him to the London University College. The Imperial Library of Vienna contains 16,000 manuscripts in the Greek, Hebrew, Chinese, Indian and Arabic languages, written on parchment. Five thousand documents have already been transcribed by the commissioners appointed to collect and publish the entire writings of Napoleon. The most interesting of these contributions-because the least known-are those written while the hero of Austerlitz held inferior rank in the army. Numbers of letters written during the early por tion of his career have been sent to the imperial Commission. They were addressed to people-often to people almost unknown-and were treasured by them after the writer had become celebrated. Of these contributions the most remarkable are about sixty letters of instructions and explanations written by Napoleon while commanding the artillery at Toulon. The Imperial Commissioners have also in their possession an autograph letter, addressed by Napoleon to Cardinal Fesch-in which he describes minutely, and clearly, the proper duties of an archbishop. Indeed, Napoleon's correspondence with the clergy promises to form a remarkable portion of his collected works. It appears that he wrote a series of letters to the Ministre des Cultes, in which he gave his notion of a good priest. The main point on which he forcibly dwells is, that the church has no business with af fairs of State. It is said that these lessons to the Minister of religion are both severe and just. M. DIDOT, the eminent French publisher, has just issued a pamphlet against a projected paper duty in France. In 1340 says M. Didot, King Philip ordered that "paper and books, being indispensable to pupils, should be exempt from duty." King John, in 1360, confirmed that privilege; and afterward Louis XII. and Francois I. declared books exempt from every kind of impost. Henry II., in 1552, ordered that there should always be in France a special favor shown to paper; and, in 1789, when an attempt was made to introduce a paper duty, the idea was so unpopular that the proposed plan came to nothing. An acceptable addition to the Catalogue of the British Museum Library has been made in a list of the pamphlets belonging to the Royal Library. The catalogue is in twelve small octavo volumes. The pamphlets are about twenty thousand in number, extending from the reign of Charles I. to George III., by whom they were presented to the nation about thirty years ago. Governor BRADFORD's long lost MS., "History of Plymouth Colony and people from 1602 to 1647," has been discovered in Lambeth Palace, London. The MS. must have been taken to England when the British troops evacuated Boston in 1776. A Literary discovery of interest has lately been made. It comprises above a hundred letters of James Boswell, principally addressed to his friend, the Rev. William Templer, Rector of St. Gluvias, in Cornwall, whose name is mentioned three or four times in the life of Johnson. They were rescued some years ago from the hands of a shopkeeper in France, with a mass of other correspondence of less importance, addressed to this Mr. Templer, but have not been thoroughly examined until lately. Preparations are now being made for their publication." A Paris paper announces the fact of the discovery of an unpublished fragment of a lost tragedy of Euripides, by M. Egger, of the Institute. Mr. EWART, Mr. G. A. HAMILTON, and Mr. KIRK have introduced a bill for further promoting the establishment of free public libraries and museums in Ireland. The general management of the libraries and museums is to be vested in the borough councils and town-commissioners, who are "to purchase and provide the necessary fuel, lighting, and other similar matters,-books, newspapers, maps, and specimens of art and science," &c. The property of the library and all lands and buildings will be vested in the managers. A decision against the adoption of this act will be valid for one year. Museums and libraries established under this act will be open to the public free of all charge. Recollections of Russia, during Thirty-three Years' Residence, by a German Nobleman. Also, Greece and the Greeks of the Present Day, by M. About, for "Constable's Miscellany." Travels in Spain, Portugal, Sicily, and Italy, by J. D. Burns, Author of the "Vision of Prophecy," and other Poeme. THE family of Sir Richard Steele, on the father's side, were English, but he had an Irish mother; and in Dublin, where his father held the office of secretary to the first Duke of Ormond, he was born in 1675. The Duke was one of the governors of Charterhouse, and there Richard Steele was placed, as soon as he could be entered after his father's death. He remained till he was seventeen; and from his ready scholarship of after years, as well as the kind expressions long interchanged between him and its old head master, Dr. Ellis, he may be assumed to have passed fairly through the school. Of his positive acquisitions only one is known, but it is by far the most important. Not the glory of his having carried off every prize and exhibition attainable, if such had been his, would have interested us half so much as the fact that here began his friendship with Joseph Addison. The son of the Dean of Lichfield was three years older than Steele, who was a lad of only twelve, when, at the age of fifteen, Addison went up to Oxford. Three years at that age are the measure of submission or authority, and Steele never lost through life the habit of looking up at his friend. He VOL. XXXVI.-NO. III. went himself to Oxford in 1692, at the head of that year's post-masters for Merton; but his intercourse with the scholar of Magdalene had not ceased in the interval. Pleasant traces are left for us which connect the little fatherless lad with visitings to Addison's father, who loved him. Like one of his own children he loved me, exclaimed Steele, towards the close of his life. Those children, too, apart from his famous schoolfellow, he thanks for their affection to him; and among the possessions of his youth retained until death was a letter in the handwriting of the good old Dean, giving "his blessing on the friendship between his son and me." The little black-eyed dusky-faced lad had made himself popular at the Lichfield deanery; and he brought away from it, we will not doubt, that first ineffaceable impression which remained alike through the weakness and the strength of his future years, that religion was a part of goodness, and that cheerfulness should be inseparable from piety. Entered of Merton in 1692, his college career is soon told. Having passed three years in a study of which he showed afterwards good use, and in a companionship which confirmed not the least memorable of 55 |