Ditchley Park is more beautiful. Unfortunately, the English climate played us a sad trick to-day. In the morning (for the second time since we left London) the sun shone, and we were triumphing in our good luck, when suddenly there fell such a fog that during the whole remaining day we never could see a hundred steps before us,—often scarcely ten. In the house we found a number of good pictures, especially very fine portraits, but no creature could tell us whom they represented. We learned nothing new in our art, but we found a novelty in another department. In the gamekeeper’s lodge, in default of spoils of nobler beasts, were about six dozen rats nailed up, their legs and tails displayed with great taste.
Our third visit was to Blandford Park, belonging to Lord Churchill; very inconsiderable as a park, but the house contains some noble pictures. Two, I particularly envied the possessor. The first, a female figure, attributed, no doubt falsely, to Michael Angelo. The drawing is certainly bold, but there is a truth and elasticity in the flesh, a Titian-like colouring, and a lovely archness of expression, which betray no Michael Angelo,—even suppose the assertion to be false, that we possess no oil-paintings of that great master.
The second riveted me still more;—a Judith ascribed to Cigoli, a painter whose works I do not remember to have seen. The subject is common enough: the triumphant virgin, with the trunkless head in her hand, has always appeared to me rather disgusting than attractive; but here the artist has diffused an expression over Judith’s elevated and captivating face, which appears to me to be conceived in the very spirit of poetry.
I had rather possess good copies of such exquisite pictures, than less interesting originals by great masters:—it is the poetical not the technical part of a work of art that has charms for me. I pass over a fine collection of drawings by Raphael, Claude, and Rubens, and many interesting portraits.
The horrid fog was thicker and thicker, and we saw Blenheim as if by twilight. In grandeur and magnificence it is doubtless extraordinary; and I was much pleased with what I saw, or rather divined; for it was all shrouded in a veil, behind which the sun appeared rayless, like the moon. The house is very large and regular, built, unhappily, in the old French style, and truly royal in magnificence. The park is five German miles in circumference, and the piece of water, the finest work of its kind existing, occupies alone eight hundred acres. The pleasure-grounds are on an equally vast scale; forty men are daily employed in mowing. Opposite to the house the water forms a cascade, so admirably constructed of large masses of rock brought from a great distance, that it is difficult to believe it artificial.
One cannot help admiring the grandeur of Brown’s genius and conceptions, as one wanders through these grounds: he is the Shakspeare of gardening. The plantations have attained to such a height that we saw a single Portugal laurel growing out of the turf, which measured two hundred feet in circumference.
The present possessor, with an income of seventy thousand pounds, is so much in debt that his property is administered for the benefit of his creditors, and he receives five thousand a year for his life. It is a grievous pity that he spends this little in pulling in pieces Brown’s imposing gardens, and modernizing them in a miserable taste; transforming the rich draperies which Brown had thrown around Nature, into a harlequin jacket of little clumps and beds. A large portion of the old pleasure-ground is thus destroyed; as the old gardener, almost with tears in his eyes, remarked to us. Many noble trees lay felled around; and a black spot on the turf showed the place where a laurel, nearly as large as the one I mentioned, lately stood in all its pride and beauty. I thought with grief how vain it is to attempt to found anything lasting, and saw in imagination those of my successors who will destroy the plantations which we have designed and tended together with so much fondness. Blenheim is chiefly situated on the spot where stood the ancient royal park of Woodstock (which you remember from Walter Scott’s last novel). A great part of the oak wood which existed in the time of the unhappy Rosamond is still alive, and dying in an agony of a century’s duration. There are perfect monsters of oaks and cedars, both as to form and size. Many are so entirely enwreathed with ivy that it has killed them, but at the same time clothed them with a new and more beautiful evergreen foliage which enwraps the decayed trunk, like a magnificent shroud, till it falls into dust.
Deer, pheasants and cattle, people the park, whose green plains seemed, in the uncertain mist, boundless as the sea; in some places, bare as a Steppe, in others thickly planted.
The interior of the house looks rather neglected, but contains a number of valuable works of art. It must be confessed that never did a nation bestow a richer reward on one of its great men than Blenheim, which is princely even in its minutest details.[38]
As we entered, there was such a smoke that we thought we had to encounter a second fog in the house. Some very dirty shabby servants—a thing almost unheard-of here—ran past us to fetch the ‘Chátelaine,’ who, wrapped in a Scotch plaid, with a staff in her hand and the air of an enchantress, advanced with so majestic an air towards us, that one might have taken her for the Duchess herself. The magic wand was for the purpose of pointing more conveniently to the various curiosities. As a preliminary measure, she required that we should inscribe our names in a large book: unhappily, however, there was no ink in the inkstand, so that this important ceremony was necessarily dispensed with. We passed through many chill and faded rooms, decorated with numerous and fine pictures, though among them are many inferior ones, on which the names of Raphael, Guido, &c. are liberally bestowed. The gallery is extremely rich in fine and genuine Rubens’; the most attractive among which, to me, was his own frequently repeated but excellent portrait. I was also much interested by a whole length portrait of the wild Duke of Buckingham, by Van Dyk,—a roué of a very different sort, both in the delicate turn of the features, the chivalrous dignity, and the tasteful dress, from our modern ones. Further on is a beautiful Madonna, by Carlo Dolce, less smooth and ‘banale’ than most of those by the same master; and an excellent and most characteristic portrait of Catharine of Medicis. She is very fair, with exquisitely beautiful hands, and a singular expression of cold passion (if I may use the words) in her features, which yet does not excite the feeling of repulsion one would anticipate. Ruben’s wife hangs opposite to her,—a handsome Flemish housewife, somewhat vulgar, but beautifully painted and admirably conceived. Philip the Second, by Titian, appeared to me unmeaning:—two beggar boys, by Morillo, admirable. Lot and his daughters, by Rubens;—the female figures somewhat less vulgar and coarse than most of his beauties, who generally have too much in common with the chief produce of his native country: Lot is admirably painted: the picture is however a very unpleasing one. In the bedroom was hung, oddly enough, a disgusting, fearful picture of Seneca’s death in the bath,—Seneca already a livid corpse.