And so the art tourist goes on till he really knows something about painting,—even whether he have a taste or no,—and becomes proud of himself and his subject. That second object of which I have spoken, and which has reference to the life of the painter, he of course acquires from books. And it may be remarked that the popularity of this kind of knowledge has become so strong that much of the information is given in the ordinary guide-books. We do not much care to know who taught Christopher Wren to be an architect, or whence Mozart learned the art of music, or even how Canova became a sculptor. But it is essential to the art tourist, to the youngest tyro in art touring, that he should know that Titian was the scholar of Bellini, and Raphael of Perugino, and Vandyke of Rubens. The little intricacies of the schooling,—how this man migrated from one school to another, and how the great pernicious schools of art at last formed themselves, destroying individual energy,—these come afterwards. But to the diligent art tourist they do come. And it is delightful to hear the contests on the subject of art tourists who have formed themselves, one on Kugler and another on Waagen; who have read the old work of Vasari, or have filled themselves with a widely-extended mass of art information from the late excellent book by Mr. Wornum.
The upshot of all this has been the creation of a distinct and new subject of investigation and study. Men and women get up painting as other men and women get up botany, or entomology, or conchology, and a very good subject painting is for the purpose. It is innocent, pretty, and cheap;—for I take the fact of the tour to be given as a matter of course. It leads its pursuers to nothing disagreeable, and is as open to women as to men. And it leads to very little boring of other people who are not tourists, which, perhaps, is its greatest advantage; for though the art tourist will sometimes talk to you of pictures, what is that to the persecution which you are called on to endure in inspecting cupboards full of pickled snakes or legions of drawers full of empty egg-shells? The work of an art tourist must at least be more attractive than the unalluring task of collecting postage-stamps and monograms. And, above all, let it be remembered that if it so chance that the art tourist have an eye in his head, he may at last become a lover of art.
The work of the art tourist begins about the middle of September, is carried on hotly for that and the next three months, and then completes its season at Rome in Easter. It flourishes, however, only in autumn, as the normal art tourist is one who is either away from his business for his holiday, or whose period of travelling is dependent on some such person. The work is begun at the Louvre, for the disciple in this school of learning will never condescend to use our own National Gallery, though for the purposes of such learning our own is perhaps the best gallery in the world. He begins in the Louvre; and, indeed, in the tribune of that gallery, under the influence of the great picture by Paul Veronese, which is probably the most marvellous piece of painting in the world, the resolution to get up painting is often taken by the young scholar. Then the galleries of Italy are seen—Venice, Bologna, Florence, Rome, and perhaps Naples; Antwerp and Bruges probably come next; and then Dresden, Munich, and Vienna. By this time the art tourist is no longer a tyro, but, stored with much knowledge, burns for the acquisition of more. He pines after Madrid and Seville, and steals a day or two from some year's holiday for Amsterdam and the Hague. He works hard and conscientiously at his galleries, as though he could turn aside in idleness from no wall, on which pictures are hung, without dishonesty.
And then how the subject swells before him when he takes to fresco-painting, and begins to despise easel pictures! He penetrates to Assisi, and declares the Campo Santo at Pisa to be the centre of the world of Art! He expatiates to you with vigour on the chapel in the Carmine, and turns from you in disgust when he finds that you don't know what that chapel is, or where that chapel may be.
There is an old saying, which the world still holds to be very true, but which is, nevertheless, I think, very false: "Whatever you do, do well." Now there are many things which are worth doing which cannot be done well without the devotion of a lifetime, and which certainly are not worth such devotion as that. Billiards is a pretty game, but to play billiards well is a dangerous thing. And chess is a beautiful game; but they who play chess really well can rarely do much else. Art tourists are in this danger, that it is quite possible they may teach themselves to think that they should do their art touring so well as to make that the one pleasurable pursuit of their lives. After all, it is but a collecting of dead leaves, unless the real aptitude and taste be there.
[THE TOURIST IN SEARCH OF KNOWLEDGE.]
I think that we all know the tourist in search of knowledge, the tourist who goes abroad determined not to waste a day, who is resolved to bring back with him when he returns from his travels information that shall be at any rate an equivalent to him for the money and time expended. This tourist in search of knowledge no doubt commands our respect in a certain degree. He is a sedulous man, probably exempt from any strong evil proclivities, anxious to do the best he can with his life, imbued with a respectable ambition, and animated by that desire to be better than those around him which generally saves a man from being below the average if it does not suffice to do more for him than that. But, having said so much in praise of tourists of this class, I do not know that there is much more to be said in their favour. Such men are usually bores as regards their effect upon others; and, as regards themselves, they seem in too many cases to have but little capacity for following up the special career which they have proposed to themselves. They are diligent in their inquiries, but have laid down for themselves no course of study. They wish to learn everything, but have too great a faith for learning everything easily. They have seldom realized to themselves how hard is the task of mastering information, and think that in going far afield from their own homes they have found, or are like to find, a royal road to knowledge. And then they have a worse fault than this incorrectness of idea which I have imputed to them. They are apt to forestall the merits which they should in truth never claim till the knowledge has been won, and as seekers for wisdom, assume the graces which others should give them when such acquired wisdom has become the manifest result of their labours.