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.
