Author. "It seems to me you might save a lot of expense next time by placing flags where the troops may go, not in the forbidden ground. You would not need nearly so many flags. How on earth are troops marching along this road to learn anything? No sooner have they thrown out men to feel their way for them and to protect them from being taken in flank, than the men must come back to the road to avoid a patch of common swedes or mangels."
Compensation Officer. "Yes, it looks like that; but you must remember these are not ordinary swedes or mangles."
Author. "What do you mean? They look pretty commonplace. We should think nothing of walking through roots as good, or better, after partridges at home."
Compensation Officer. "Of course we should; but I tell you these are not ordinary roots. They are all being grown for seed; they may be choice kinds produced, for all I know, as the result of years of experiment. You never know what you may come upon next in this seed-growing country. You will find whole fields of Delphinium, Dahlia, Penstemon, Lupin, almost any flowering plant, to say nothing of crops of strange plants, whose very appearance is unknown to you."
Author. "Did the great men of the War Office know all this when they decided to hold manœuvres here? If so, it seems to me, they made a foolish choice of their ground, because, while the value of the training is reduced by the necessary cramping of movement, the compensation payable is sure to be out of all reason."
And the Compensation Officer answered never a word, for the purposes of this book, but probably he thought the more. His description of the country was justified abundantly. The very grass might be, very likely was, being grown for special lawn seed, and, over and over again, one passed acres of early autumnal flowers in full bloom, which set an eager gardener (for man may be gardener and motorist) thinking of additions to be made to his own distant plot. On we fared, breasting that hill of 1 in 13, and in 2-3/4 miles we are at Manningtree. Now, Manningtree is ancient, and it has a history.
"Why dost thou converse with that trunk of humours, that bolting-hutch of beastliness, that swollen parcel of dropsies, that huge bombard of sack, that stuffed cloak-bag of guts, that roasted Manningtree ox with the pudding in his belly, that reverend vice, that grey iniquity, that father ruffian, that vanity in years?"
Thus, in the first part of King Henry IV (Act ii. scene 4), does Harry of Monmouth, speaking of Falstaff, but himself in the character of his own father, address himself. Argal, the cattle sold at Manningtree Fair had a great name even in Shakespeare's day. Manningtree also was, as may be seen from a memorial slab in the church, connected with Thomas Tusser, the agricultural poet of the sixteenth century, who, after being educated at King's College and Trinity Hall, Cambridge, rejected music, for which he had been trained, for farming on the banks of the Stour. This was "an employment," says a superior person, "which he seems to have regarded as combining the chief essentials of human felicity." Well, there are worse occupations than farming, and the production of indifferent music is one of them. It is pleasant to muse over Tusser's tablet at Manningtree, to reflect that he probably was a practical and improving farmer, else a tablet would hardly have been erected at Manningtree in memory of a man who was buried at St. Paul's, and to hope that to him, at least in part, was due that fame of the Manningtree oxen which made Shakespeare select them as typical. That Shakespeare and Tusser ever met in the flesh is unlikely, for Tusser died in 1580, and even that strange tribe the Baconians admit that Shakespeare was born in 1564 and remained at Stratford Grammar School until he was fifteen. Less creditably connected with Manningtree was Matthew Hopkins, the "witchfinder," appointed as such by Parliament in 1644—by the Parliament of Westminster presumably, not by that of Oxford, for Charles held a Parliament at Oxford in that year—and celebrated in Hudibras. His was the fate of Phalaris, for at last, having "hanged three-score of them in a shire," he was tried in the same brutal fashion which he had applied to others, and perished in like fashion. We have no right, after quite modern experience in Ireland, to be very contemptuous towards our forefathers in respect of their belief in witches; but still it is a little startling to be compelled to realize that they set Hopkins and his fellow-commissioners to their task in a year so full of grim realities as that of Marston Moor, of Cropredy Bridge, and of the Duke of Newcastle's departure in despair from the kingdom.
It has been well to reach Manningtree by the fairly good road from Colchester; but we must go to the westward a little, and cross the Stour, leaving Essex and our peninsula for a while if we would not miss perhaps the most precious association of the valley of the Stour. It is East Bergholt, the birthplace of John Constable, the miller's son, and here we are in the country which he once had the pleasure of hearing described in his presence by a complete stranger as "Constable's country." This was the more strange in that, like many another artist before him and since his day—the word "artist" is used in its widest sense—he was not appreciated at his full worth while he lived among men. A few days or a week spent in Constable's country, by painters or by those who aspire to know something of the spirit of landscape painting, are now to be regarded as time spent pleasantly, profitably, and naturally by men and women of cultivated taste; but the stranger on the Ipswich coach who said in his hearing, "This is Constable's country," was in advance of the average taste of his generation, for, although Constable was appreciated in France before those of his own race were awake to his merits, it is one of the cruel ironies of fate that, when the great landscape painter died, his studio was full of unsold pictures. His case, unlike that of Thomas Gainsborough, whom we shall meet soon, was one in which a stolid parent did his best to choke the spring of artistic spirit in its efforts to express itself in form and colour. It was also one compelling the quotation, "God fulfils Himself in many ways." He showed his leanings in early boy-hood, doubtless in the usual manner, when he was a pupil in the grammar school at Dedham, in Essex and close by—the tower of Dedham Church is a prominent object in many of his landscapes. Again, what country-bred man does not remember how, when the plumber was called in (he was usually painter and glazier too), undiluted joy was to be obtained from watching him at work, from working his divine putty into fantastic shapes, from unlicensed meddling with his brushes and paints? John Constable, too, watched his father's plumber, one Dunthune, to some purpose, and Dunthune was no ordinary plumber. He knew something of landscape painting, and is said to have inspired the boy to that habit of studying in the open air which, in all probability, stood in little need of inspiration. In this is nothing of unnatural novelty. Was not John Crome, of Norwich, apprenticed to a coach and sign-painter, or, as some have it, to a house-painter? The wonder is rather that more house-painters do not develop some measure of artistic proficiency.
Constable's father, however, had no sympathy for his son's budding genius. The boy, leaving school early, as we reckon now, was set to the task of watching a windmill, and here was one of the many ways in which God fulfilled Himself. Compelled to study the face of the sky with minutest care, the boy acquired that intimate familiarity with it, that joy "in gleaming showers, and breezy sunshine after rain, and grey mists of summer showers" (to quote Mr. H. W. Nevinson's words in an article he has most likely forgotten), which was the basis of his fame. Fuseli might sneer at the painter of "great-coat weather," but Fuseli had the reputation of a cynical wit to keep up. Englishmen will hail Constable for all time now as the faithful translator and revealer of the inner spirit of landscape. Still excuses may be made for the father. Parents have a pardonable habit of considering ways and means, of preferring the certain to the problematic, in planning careers for their sons. The apprehensions of Constable the elder were so far justified by results that Constable the younger was by no means immediately successful. He went to London in 1795, being then not twenty years of age. He came back, beaten, to the windmill and the counting house in 1797. From 1799 to 1816, married, struggling, unappreciated, he fought the desperate battle against poverty in London once more. Only in the latter year, when he was forty years of age, and his father died leaving him £4000, was he able to live in any approach to comfortable circumstances. Perhaps the deliverance from res angusta domi helped him to paint better. Few men are so cheerfully constituted that, like Mr. Shandon in the Fleet and in Pendennis—in a novel, of course, but Mr. Shandon is a living reality—can produce good imaginative work amid squalid surroundings and domestic anxieties—perhaps he was really late in development. Certain it is that, except A Lock on the Stour and Dedham Vale, few of Constable's better known pictures were painted before he was forty; and it is equally certain that, to the very end, he was never properly valued by his generation.