NAPOLEON CROSSING THE ALPS.
Last year at this time we were all impressed, as we seldom are by anything of this sort, by Delaroche's picture of Napoleon at Fontainebleau. We are none of us likely to forget the feeling then experienced of being admitted into that dread presence, and looking, not only at the bodily form, but into the very soul of that great and miserable man. We may now get a different and yet a similar impression, from what we cannot but regard as a nobler and more touching work—something deeper and finer still. Those who knew what we thought of the first, will understand how much praise of the second is involved in our saying this. Last year we saw before us the spectacle of power, perhaps the most intense and enormous ever committed by the Divine Disposer to one of his creatures, in ruins, having all but played the game out. It was the setting sun of a day of astonishment, brightness, and tempest, lightning and thunder; but the great orb was sinking in disastrous storm and gloom—going down never to rise again. In this new picture, we have the rising sun climbing up its young morning sky; the hours of glory, of havoc, and of shame, are before him, and us. The innocent brightness of his new-born day is not yet gone; it will soon go.
Nothing can be simpler, or more everyday-like, than the body of the picture. A steady, painstaking mule, with his shoulder to the steep, his head well down, his nostrils dilated, his eye full of stress and courage, his last hind leg straining forward himself and his burden, his shaggy legs clotted with the sweat-ice-drops, the weatherworn harness painted as like as it can look, his ruffled and heated hide, the leash of thongs, which, dangling, has often amused and tickled his old and hungry sides, swinging forward in the gusty wind—his whole heart and soul in his work; he is led by his old master, with his homely, hardy, and honest face, his sinewy alpenstock in his hand. Far back on the mule sits Napoleon, consulting his own ease alone, not sparing man or beast—he was not given to spare man or beast—his muscles relaxed, his lean shapely leg instinctively gripping the saddle, his small handsome foot resting idly in the stirrup, the old useless knotted bridle lying on the mule's neck, his grey coat buttoned high up, and blown forward by the wind, his right hand in his inner coat, his slight graceful chest well up, and, above it, his face! and, above it, that well-known hat, firmly held by the prodigious head within, the powdery snow grizzling its rim. Ay, that face! look at it; let its vague, proud, melancholy gaze, not at you, or at anything, but into the immense future, take possession of your mind. He is turning the north side of the Alps; he is about descending into Italy; and what of that?—we all know now what of that, and do not know yet all of it. We were then, such of us as may have been born, as unconscious of what was before us and him, as that patient mule or his simple master. Look at the face narrowly: it is thin; the cheeks sunken; the chin exquisite, with its sweet dimple; the mouth gentle, and firm, and sensitive, but still as death, not thinking of words or speech, but merely letting the difficult air of that Alpine region in and out. That same mouth which was to ignore the word impossible and call it a beast, and to know it, and be beaten by it in the end; that thin, delicate, straight nose leading you to the eyes, with their pencilled and well-pronounced brows; there is the shadow of youth, and of indifferent health, under and around these eyes, giving to their power and meaning a singular charm—they are the wonder of the picture. He is looking seriously, but blankly, far on and up, seeing nothing outwardly, the mind's eye seeing—who can tell what? His cheek is pale with the longing of greatness. The young and mighty spirit within is awakening, and hardly knows itself and its visions, but it looks out clearly and firmly, though with a sort of vague sadness, into its appointed field.
Every one must be struck with this look of sorrow; a certain startled air of surprise, of hope, and of fear; his mind plays deeply with the future that is far off,—besides doing anything but play with his work to-morrow, that, as we shall soon hear, was earnest enough, as Marengo can tell. Such is the natural impression, such the feelings, this picture made and awakened in our minds through our eyes. It has a certain plain truth and immediateness of its own, which leads to the idea of all that followed; and, lest this effect be said to be ours, not the picture's, we would ask any man to try and bring such an idea, or indeed any idea, into the head of any one looking at David's absurd piece of horsemanship, called Crossing the Alps. And what is that idea? Everything ripening for that harvest, he is putting his sickle forth to reap. France, terrified and bleeding, and half free, getting sight of its future king—rousing itself and gathering itself up to act. Italy, Austria, and the drowsy, rotten, bewildered kingdoms, turning uneasily in their sleep, and awakening, some of them never again to rest; even the utmost north to bear witness of him, and take terrible vengeance for his wrongs. Egypt has already been filled with the glory, the execration, and disgrace of his name; and that Holy Land, the theatre of the unspeakable wonders and goodness of the Prince of Peace, that too has seen him, and has cast him out, by the hearty courage and hatred of an English captain and his sailors. England also is to play a part; to annihilate his fleets, beat him and his best marshals wherever she meets them, and finish him utterly at last.
And what changes—as strange, though more hidden—in character, in affection, in moral worth, are to take place in that beautiful and spiritual countenance, in that soul of which it is the image; infinite pride, and glory, and guilt, working their fell will upon him—his being (that most dreadful of all calamities to a creature like man) left altogether to himself. How the wild, fierce courage of Lodi and Arcole is to waste away into the amazing meanness of "Sauve gui peut"—the Regent's letter, and the pitiful bullying on board the Bellerophon. Before him lis his victories, his mighty civil plans, his code of laws, his endless activity, his prodigious aims, even his medals so beautiful, so ridiculous, so full of lies—one of them telling its own shame, having on one side Hercules strangling the monster of the sea (England), and on the other the words "Struck at London!!" his perfidy and cruelty; the murdered young D'Enghien; the poisoned soldiers at Jaffa. The red field of Leipsic rises stark on our sight, where the great German people, that honest and right-hearted but slow race, fell and rose again, never again to fall so low, and, by and by, through the same vital energy, it may be soon, to rise higher than many think, when, rousing themselves like a strong man after sleep, they shall drive their enemies, be they kings or priests, as old Hermann and his Teuts chased the Roman Eagles across the Rhine, and returning, lift up like them their beer horns in peace; this has always seemed to us the great moral lesson to the world of Napoleon's career. But our readers are impatient; they have, perhaps, parted company with us long ago. One thing they will agree with us in, that this picture raises up the mind of the looker; fills his memory with living forms; breathes the breath of life and of human nature into the eventful past, and projects the mind forward upon the still greater future; deepens impressions, and writes "Vanity of vanity, all is vanity," on such mad ambition—
"The glories of our earthly state,
Are shadows, not substantial things."
But to return to our picture. Behind Napoleon is another guide, leading the horse of a soldier, muffled up, and battling with the keen mountain wind. This closes the scene; around and above are the everlasting Alps, looking as they did when Hannibal passed nearly 3000 years before, and as they will do thousands of years hence. They bear down upon the eye in a formidable way, as if frowning at the intruder on their snows and silence, and as if crowding down to withstand his steps. Under is the spotless snow, with some bits of ice, troubling the hoofs of the mule. This completes the picture, which, as we have already said, is homely and simple in its body, in all that first meets the eye, though informed throughout with the finest phantasy when the mind rests upon it and reaches its soul.
Every one must be struck with the personal beauty of Napoleon as represented here. He was in his 31st year; had been four years married to Josephine—the happiest years of his life; he had just come from Egypt, having been hunted across the Mediterranean by Nelson. His peasant guide, who succeeded to the old man, and who brought him within sight of Italy, described him as "a very dark man, and with an eye which, though affable, he did not like to encounter." We can believe him; a single look of that eye, or a word from that mouth, cheered and set in motion the wearied army as they toiled up "the Valley of Desolation;" and if they stuck fast in despair, the Consul had the drums beat, and trumpets sounded, as for the charge. This never failed. He knew his men.
This picture was conceived by Delaroche last year, on the spot where the scene is laid, and painted very soon after. He was at Nice for his health, and had for his guide up the St. Bernard, the son of the man leading the mule, who told him many things about Napoleon, and how he looked. As regards colour, it is the best of Dela-roche's pictures we have seen; it is a curious study to mark how little, and how much, the young, thin, spiritual face differs from that of last year's picture.
There is something to our minds, not unseasonable in directing our thoughts to such a spectacle of mere human greatness, at this (Christmas) sacred time. So much mischief, crime, and misery, and yet so much power, intelligence, progress, and a certain dreadful usefulness in the career of such a man. What a contrast to His life, who entered our world 1850 years ago, and whose birth was heralded by the angel song, "Glory to God in the highest, and on earth peace, goodwill toward men;" whose religion and example, and continual living influence, has kept this strange world of ours from being tenfold more wicked and miserable than it is. We would conclude with the words of the poet of In Memoriam—
Ring out the old, ring in the new,
Ring happy bells across the snow,
The year is going, let him go;
Ring out the false, ring in the true.
"Ring out a slowly dying cause,
And ancient forms of party strife;
Ring in the nobler forms of life,
With sweeter manners, purer laws.
"Ring out false pride in place and blood,
The civic slander and the spite;
Ring in the love of truth and right,
Ring in the common love of good.
"Ring out old shapes of foul disease,
Ring out the narrowing lust of gold;
Ring out the thousand wars of old,
Ring in the thousand years of peace."