Complete Works of Wilkie Collins (2108 page)

The following letter, addressed to Mr. Collins, from Rome, by Sir David Wilkie, and the reply to it, mark the commencement of a correspondence, which was continued during Wilkie’s progress through Spain, as well as during my father’s residence on the Continent some years afterwards; and which will be found to contain, as it proceeds, an interesting account, recorded by each painter in turn, of his first impressions of the marvellous achievements of southern Art:

To W. COLLINS, ESQ., R.A.

“Rome, Dec. 3rd, 1825.

“Dear Collins, — After hearing, as you no doubt must have done, that I was laid up under the doctor’s hands at Paris, where no good was gained by it; and after hearing, also, that I had been taken ill at Parma, where I have never been, you may be surprised to find that I am still in the land of the living. Of health, however, I have no wish to boast: nor do I wish to complain of the anxiety of friends. Glad should I have been to have seen the wonders of this Eternal City with greater powers of benefiting by the sight: but the journey of a thousand miles, while it has amused and diverted me, has at least done no harm; and, after its fatigues, I am quite as able-bodied as at starting; and if still unable for serious study and occupation, have the satisfaction of being more equal than I was to the effort of communicating my ideas and impressions to my distant friends.

“My first project of travelling with Phillips and Hilton being thwarted by my detention in Paris, we entered Italy at different times; and while they took the road to Venice, Parma, and Bologna, I, with my cousin Lister, took the western road from Milan by Genoa and Pisa; and arrived at Florence, our place of rendezvous, three days before them. Among us three, or rather between them and myself, when in this cradle of the revival of Art, there was naturally a collision of opinion; but in one thing we had formed the same conclusion, and that too from objects seen on our different routes, and before we met — namely, that the only Art pure and unsophisticated, and that is worth study and consideration by an artist, or that has the true object of Art in view, is to be found in the works of those masters who revived and improved the Art, and those who ultimately brought it to perfection. These seem alone, whatever their talent was, to have addressed themselves to the common sense of mankind. From Giotto to Michael Angelo, expression and sentiment seem the first thing thought of: while those that followed, seem to have allowed technicalities to get the better of them, until simplicity giving way to intricacy, they appear to have painted more for the artist and the connoisseur than for the untutored apprehensions of ordinary men.

“Such, I think, must be the impression of a stranger. The multitude of works pressed upon him at all hands would be distraction itself, but for the selection you have to make of the best; and everything commonplace, affected, or academical you reject by a kind of instinct; but in doing so, many a mighty name is, I assure you, thrust in the background, and many unknown and unscientific names brought into view. But this is a classification upon which all progress in Art must depend, inasmuch as a new power over the mind or feelings of man, added to the Art, is of more value than all the changes that can be rung, however dexterously, upon that which has been already invented.

“After viewing with extreme interest, at Pisa and at Florence, the series of Art from Cimabue and Giotto down to P. Perugino and Fra Bartolomeo, I was all expectation to see, on coming to Rome, the works of Raphael and Michael Angelo. The Vatican and Sistine Chapel were, therefore, my first objects of attention. On entering, the grayness of the frescoes first struck me, and some time elapsed before this wore off. The Raphaels resemble much the Cartoons; they are less finished, and a little more damaged than I expected, but in colour they are admirable, and lose nothing from being so. They have, indeed, this high quality, that the subject is uppermost, and they have more excellences addressed to the unlearned observers than any works I know of. When in the freshness of their first existence, they must have been most attractive to the common people, which, I doubt, is more than could have been said for Titian or Rubens.

“Michael Angelo’s works I visited with greater apprehension, prepared almost for disappointment; but when the first impression of the grayness of fresco was over, they grew upon me with overpowering influence. The composition of the ‘Last Judgment’ and ceiling you know perfectly, — the colour, effect, and expression, therefore, is all that will be new to
you
as it was to
me.
As a colourist, people seem to apologize for him, but I assure you, quite unnecessarily; he is always appropriate, never offends, and in many parts is as fine as Titian or Correggio. Broken tints, with most agreeable arrangement and harmony, with all the suavity of richness and tone that we are accustomed to exact from the Venetians, seem quite familiar with him; and, high as his other qualities are for composition and mental intelligence, his colouring rather adds than detracts from them. And though Sir Joshua Reynolds seems to have overlooked this quality in Michael Angelo, where he says that severity and harshness are necessary to the grand style, I still give him credit for unaffected sincerity in his admiration of the great master, between whose works in the Sistine Chapel and his own we have been tracing many resemblances; not only in the high aim, the something unattainable, and the profound feeling for the indescribable thoughts of the inward man, but even in the more obvious qualities of light and shadow and colour. The wonders accomplished here in fresco suggest the question whether it should not be tried in England? Damp climate is objected, — but Italy is damp too; and the difficulty of the work is stated, — but this vanishes, since we see the artists here doing it with perfect facility. Several Germans, — namely, Overbeck, Fight, Schadow, and Schnorr, have painted two palazzos in the early German manner, imitating not Raphael, but Raphael’s masters, and with great cleverness and research; but they have not hit the mark, — their style wanting so much of modern embellishment cannot now be popular, and can neither be admired nor followed, as Pietro Perugino and Ghirlandaio were in their early day. This has given occasion to the wags to say, that Overbeck has overreached himself; that Fight is shy and timid; that Schadow has neither depth nor softness; and that Schnorr is without repose!!! With all this, however, in our country of novelty and experiment, why do those, whose aim in the higher walks is so cramped and confined by a measured canvas and a limited commission not try at once to revive the art of fresco?

“After the above crude thoughts, I now come to consider what your dear lady, (to whom I beg to be most kindly remembered,) and yourself, will see is the postscript; and therefore, the most important part of my communication, namely — whether you should not come, to see and study this land of promise. For my own part, I am thankful that I have seen it; and if I should recover my health and powers of application, shall bless the present affliction for having put this long-looked-for gratification within my reach, at a period that I hope is not too late for benefiting by it. So much do I think I gain by seeing Art, however different from mine, yet exerted with an aim, capable of being infused into any style. It is for you to judge, whether a similar advantage can be derived in
your
line — with this difference, that while I see pictures of figures, you can see no pictures of landscapes, in this country. From my leaving Paris, not one landscape has presented itself, good, bad, or indifferent, of the Italian school. The Art of Italy therefore, except by analogy, can be of no use to you; but, even in this way, it would enlarge your views; and, in respect to the country, as a new material to work upon, the country of Claude and the Poussins, what might it not furnish you! For, in spite of the scanty verdure, the stunted trees, and the muddy streams, still this is Italy; and, until you see this, and the mountains of Switzerland, you can have no proper idea of what Nature is capable of. Here, everything is seen clearer than in England — the sky is bluer, the light is brighter, the shadows stronger, and colours more vivid than with you; and, besides a change of effect in the pictures of an artist, in the course of a long professional career — which I hope you still have before you — may not a change of subject — as well to develope your own powers, as to keep alive the public interest be a thing of consequence to you? Remember what Wilson and Turner have gained from Italy and Switzerland; and, though as a family man it will require a sacrifice, I think it well worth your deliberate consideration.

“In writing the above, let me not throw the apple of discord between you and your good lady. Her approval is necessary; but she has Mrs. Phillips as an heroic example; and it would be an advantage to your family, exactly in proportion as it would benefit yourself. Pray what would Sir George Beaumont, or Sir Charles Long, think of such a project? Mr. Higgins I saw at Florence; and I find he is now at Rome. He delivered your letter to Kirkup.

“Now, dear Collins, in answer to this monstrous long letter, which I can only write at intervals, to avoid fatigue, you must write to me, to give me a detail of all the news about London Art. We have heard of Allen’s election; but this is almost the only thing we have heard of since we started — therefore, write me everything, and do not be long in setting about it — I have no other way of hearing about these matters, but through you; and, therefore, depend on your kindness in doing it.

“Here is quite a colony of English artists, and also many Scotch. Sculptors are very busy. Gibson has just finished a group of the Zephyrs bearing Pysche, for Sir George Beaumont. Joseph ought to come here; he will be lost in Edinburgh: Rome ought, of all places, to be seen by a sculptor: urge him to it. Phillips and Hilton desire to be kindly remembered. Having little time, they are most active, and purpose leaving for home, by way of Genoa and Mount Cenis, in a fortnight. Their visit was far too short, but must be useful to both. Eastlake has laid aside his banditti to paint an historical subject — Roman history — Poussin size. Lane’s picture not yet visible to mortal eye.

“Give my best respects to Mrs. Collins, and to your brother; and with sincere esteem,

“I am, dear Sir,

“Yours very truly,

“DAVID WILKIE.”

“P.S. Let me know what you are doing yourself.”

“To SIR DAVID WILKIE, R.A.

“11, New Cavendish-street,

December 22nd, 1825.

“Dear Wilkie — I received with the most heartfelt gratification the account, under your own hand, of your advance in health and spirits. Most sincerely do I trust your visit to Italy may be the means of effectually removing all traces of your late indisposition. If the earnest wishes of your numerous friends could aught avail you, you would be well indeed!

“The account you give of your feelings upon visiting the works of Raphael and Michael Angelo, although it does not altogether surprise me, yet, I must confess, it somewhat startles me. I have been so long in the habit of considering Titian a mighty man, that I cannot help feeling disappointed that you say so little about him; and I much fear that the excellences of the Venetian school are sinking rapidly in your estimation. As for the Dutch and Flemish heresies, I conclude it will be prudent, in their behalf, to hold my peace.

“I am much obliged to you for continuing to take an interest in my welfare, and were it practicable, I should have great satisfaction in joining you in Italy; but much as my wife admires the heroism of the lady you mention, she does not think I dare go alone, and so the ‘scanty verdure, muddy streams, and stunted trees’ must wait for a sitting until I have paid my just and lawful debts in my own country.

“You desire news of our proceedings here, and such as I can furnish you with you shall have. Our three gold medals were given to Wood, Dacre, and Basset for painting, sculpture, and architecture, and the usual number of silver medals; but I am sorry to say we had nothing particularly good in any department. The sculpture made the best appearance. The best picture, in consequence of the person who painted it (John Hayter, I believe,) not having attended as required by the laws, to make a sketch, was not allowed to compete. Mr. Peel has just purchased a very fine De Hooge, for twelve hundred guineas. Etty and Danby are busily engaged about large pictures for Somerset House; and I have been working hard for some months. During my stay at Hendon I painted a picture for Mr. Wells, and one for the King, which his Majesty desired me to take to the Lodge at Windsor, where I had the honour of an interview, (introduced by Sir Charles Long,) which was one of the most gratifying events of my life. Your two pictures were seen to great advantage, especially the ‘Penny Wedding’ which is certainly one of your most beautiful works. I have been to the Kentish coast, where I saw your sister, and from whom, during my stay there, I heard favourable accounts of your health, which I transmitted to Mr. Wells and other of your friends, who had been, as well as myself, misled by the newspapers on that subject. Since my return, I have been employed upon a picture for Mr. Morrison; and although I remained at Hendon until the beginning of this month, my protracted stay there has not prevented my receiving some new and important commissions.