A SUNNY TEMPLE
From the antique you pass to the life room. Here another shock awaits you. In the middle of the room stands a young girl, strapped up in the attitude of Atalanta of classic fable running her immortal race. These pupils are taught first of all to sketch the figure in the pose of running as a skeleton. When the hideous skeleton has been carefully and laboriously committed to paper, it is with equal care imbued with nerves and muscles and flesh. When all this is done, a light Grecian drapery is flung on her, regardless of the folds and movement that would eventually have resulted from the fluttering of the breeze, and, mind you, she is strapped up all the time. Then, when all is completed, the poor dear lady is expected to run her immortal race. Of course, by this time there is no action in the figure at all. Atalanta appears glued to the spot, and my only wonder is that she does not indignantly chase her unfortunate creators from the studio. On looking at these pictures the spectator would say that he never saw anything so absolutely unsuggestive of the breathless vigour and energy of a healthy young girl engaged in a rapid race as is indicated by the pitiful weariness of that poor strapped-up creature in front of them. Would it not be far better that these students should go out into the street, after the method of the Japs, and watch some girl as she runs and jumps in the bright sunshine, with a soft wind blowing her hair about her head and her gown about her limbs, and then come back, and, with a memory of the beautiful inspiriting scene still fresh in their minds, commit their impressions “hot and hot” upon the canvas before them?
ON THE GREAT CANAL, OSAKA
Still, England has not always been so hopelessly inartistic. None would think of denying the perfect taste of the architects who designed such buildings as the Winchester and Durham Cathedrals, and Arundel Castle; but those are buildings wrought in dead days by men a long time dead, and England’s days of artistic appreciation are, I fear, as dead as they are. Commerce and so-called civilisation have ruined us, I fear, for ever. Japan is as artistic to-day as we were five hundred years ago, and I rejoice to think that at present there appears to be little fear of so ghastly a fate as has overtaken us. As a nation the Japanese remain faithful to art in all its details, and as individuals they are still a nation of artists. Where else but in Japan would an aged gentleman dream of rising ere the day has well begun, merely that he might bring into harmony with all its surroundings, and present in the best light possible, a little flower placed in a pot—bending it this way and that way, that its attitude might conform with the cabinet in one corner of the room, or a screen in the other? Who but a Japanese chamber-boy would be so impressed with the artistic value of contrast merely that he would feel constrained thereby to place the can of hot water in a different attitude every time he brought it into the room, and thoughtfully step aside to regard its consonance with its immediate surroundings? Art begins, as charity begins, at home; and where the home of the individual is absolutely artistic, it cannot fail that the whole nation should be a nation of artists. I give way to none in my loyalty to my country and my love for that country—I must say that I do not think that there is a country better in the whole world;—but perfection on this earth is not only impossible, but to my idea also absolutely undesirable—a perfect nation would be to the full as dreadful as a perfect man. We are saved from perfection by an almost entire lack of the artistic faculty, and, however great we are in other respects, I am sad to say we are thoroughly inartistic. To whom but the Englishman would the golden dragons that play so recklessly about on black screens with their scarlet drooping tongues, that are sold in the Japanese curio shops, possibly appeal? Who but English-speaking people would crave for those cherry-blossoms embroidered on white silk grounds, which they so gleefully carry away with them? Who but my inartistic countrymen would insist on their cabinets being smothered with endless and miscellaneous carvings? The Japanese are too artistic to admit these things into their own homes; but why are their dealers so inartistic as (blinded by the desire of filthy pelf) to put forth these embroideries for the English and American market? Such things now and then make me tremble for the future of art in Japan. It may be (though I trust not) the thin end of the wedge; it may be “the little rift within the lute that by and by will make the music mute, and, ever widening, slowly silence all.” What a tragedy it would be that the music of this most perfect art should ever be silenced in that lovely land, the resting-place and home of the highest and only living art!
PAINTERS AND THEIR METHODS