1. Mediæval Period. The vessel is regarded merely as a sort of sea-carriage, and painted only so far as it is necessary for complete display of the groups of soldiers or saints on the deck: a great deal of quaint shipping, richly hung with shields, and gorgeous with banners, is, however, thus incidently represented in 15th-century manuscripts, embedded in curly green waves of sea full of long fish; and although there is never the slightest expression of real sea character, of motion, gloom, or spray, there is more real interest of marine detail and incident than in many later compositions.
2. Early Venetian Period. A great deal of tolerably careful boat-drawing occurs in the pictures of Carpaccio and Gentile Bellini, deserving separate mention among the marine schools, in confirmation of what has been stated above, that the drawing of boats is more difficult than that of the human form. For, long after all the perspectives and fore-shortenings of the human body were completely understood, as well as those of architecture, it remained utterly beyond the power of the artists of the time to draw a boat with even tolerable truth. Boats are always tilted up on end, or too long, or too short, or too high in the water. Generally they appear to be regarded with no interest whatever, and are painted merely where they are matters of necessity. This is perfectly natural: we pronounce that there is romance in the Venetian conveyance by oars, merely because we ourselves are in the habit of being dragged by horses. A Venetian, on the other hand, sees vulgarity in a gondola, and thinks the only true romance is in a hackney coach. And thus, it was no more likely that a painter in the days of Venetian power should pay much attention to the shipping in the Grand Canal than that an English artist should at present concentrate the brightest rays of his genius on a cab-stand.
3. Late Venetian Period. Deserving mention only for its notably negative character. None of the great Venetian painters, Tintoret, Titian, Veronese, Bellini, Giorgione, Bonifazio, ever introduce a ship if they can help it. They delight in ponderous architecture, in grass, flowers, blue mountains, skies, clouds, and gay dresses; nothing comes amiss to them but ships and the sea. When they are forced to introduce these, they represent merely a dark-green plain, with reddish galleys spotted about it here and there, looking much like small models of shipping pinned on a green board. In their marine battles, there is seldom anything discernible except long rows of scarlet oars, and men in armor falling helplessly through them.
4. Late Roman Period. That is to say, the time of the beginning of the Renaissance landscape by the Caracci, Claude, and Salvator. First, in their landscapes, shipping begins to assume something like independent character, and to be introduced for the sake of its picturesque interest; although what interest could be taken by any healthy human creature in such vessels as were then painted has always remained a mystery to me. The ships of Claude, having hulls of a shape something between a cocoa-nut and a high-heeled shoe, balanced on their keels on the top of the water, with some scaffolding and cross-sticks above, and a flag at the top of every stick, form perhaps the purest exhibition of human inanity and fatuity which the arts have yet produced. The harbors also, in which these model navies ride, are worthy of all observation for the intensity of the false taste which, endeavoring to unite in them the characters of pleasure-ground and port, destroys the veracity of both. There are many inlets of the Italian seas where sweet gardens and regular terraces descend to the water's edge; but these are not the spots where merchant vessels anchor, or where bales are disembarked. On the other hand, there are many busy quays and noisy arsenals upon the shores of Italy; but Queen's palaces are not built upon the quays, nor are the docks in any wise adorned with conservatories or ruins. It was reserved for the genius of Claude to combine the luxurious with the lucrative, and rise to a commercial ideal, in which cables are fastened to temple pillars, and lighthouses adorned with rows of beaupots. It seems strange also that any power which Salvator showed in the treatment of other subjects utterly deserts him when he approaches the sea. Though always coarse, false, and vulgar, he has at least energy, and some degree of invention, as long as he remains on land; his terrestrial atrocities are animated, and his rock-born fancies formidable. But the sea air seems to dim his sight and paralyze his hand. His love of darkness and destruction, far from seeking sympathy in the rage of ocean, disappears as he approaches the beach; after having tortured the innocence of trees into demoniac convulsions, and shattered the loveliness of purple hills into colorless dislocation, he approaches the real wrath and restlessness of ocean without either admiration or dismay, and appears to feel nothing at its shore except a meager interest in bathers, fishermen, and gentlemen in court dress bargaining for state cabins. Of all the pictures by men who bear the reputation of great masters which I have ever seen in my life (except only some by Domenichino), the two large "Marines" in the Pitti Palace, attributed to Salvator, are, on the whole, the most vapid and vile examples of human want of understanding. In the folly of Claude there is still a gleam of grace and innocence; there is refreshment in his childishness, and tenderness in his inability. But the folly of Salvator is disgusting in its very nothingness: it is like the vacuity of a plague-room in an hospital, shut up in uncleansed silence, emptied of pain and motion, but not of infection.
5. Dutch Period. Although in artistical qualities lower than is easily by language expressible, the Italian marine painting usually conveys an idea of three facts about the sea,—that it is green, that it is deep, and that the sun shines on it. The dark plain which stands for far away Adriatic with the Venetians, and the glinting swells of tamed wave which lap about the quays of Claude, agree in giving the general impression that the ocean consists of pure water, and is open to the pure sky. But the Dutch painters, while they attain considerably greater dexterity than the Italian in mere delineation of nautical incident, were by nature precluded from ever becoming aware of these common facts; and having, in reality, never in all their lives seen the sea, but only a shallow mixture of sea-water and sand; and also never in all their lives seen the sky, but only a lower element between them and it, composed of marsh exhalation and fog-bank; they are not to be with too great severity reproached for the dullness of their records of the nautical enterprise of Holland. We only are to be reproached, who, familiar with the Atlantic, are yet ready to accept with faith, as types of sea, the small waves en papillote, and peruke-like puffs of farinaceous foam, which were the delight of Backhuysen and his compeers. If one could but arrest the connoisseurs in the fact of looking at them with belief, and, magically introducing the image of a true sea-wave, let it roll up to them through the room,—one massive fathom's height and rood's breadth of brine, passing them by but once,—dividing, Red Sea-like, on right hand and left,—but at least setting close before their eyes, for once in inevitable truth, what a sea-wave really is; its green mountainous giddiness of wrath, its overwhelming crest—heavy as iron, fitful as flame, clashing against the sky in long cloven edge,—its furrowed flanks, all ghastly clear, deep in transparent death, but all laced across with lurid nets of spume, and tearing open into meshed interstices their churned veil of silver fury, showing still the calm gray abyss below; that has no fury and no voice, but is as a grave always open, which the green sighing mounds do but hide for an instant as they pass. Would they, shuddering back from this wave of the true, implacable sea, turn forthwith to the papillotes? It might be so. It is what we are all doing, more or less, continually.
Well, let the waves go their way; it is not of them that we have here to reason; but be it remembered, that men who cannot enter into the Mind of the Sea, cannot for the same reason enter into the Mind of Ships, in their contention with it; and the fluttering, tottering, high-pooped, flag-beset fleets of these Dutch painters have only this much superiority over the caricatures of the Italians, that they indeed appear in some degree to have been studied from the high-pooped and flag-beset nature which was in that age visible, while the Claude and Salvator ships are ideals of the studio. But the effort is wholly unsuccessful. Any one who has ever attempted to sketch a vessel in motion knows that he might as easily attempt to sketch a bird on the wing, or a trout on the dart. Ships can only be drawn, as animals must be, by the high instinct of momentary perception, which rarely developed itself in any Dutch painter, and least of all in their painters of marine. And thus the awkward forms of shipping, the shallow impurity of the sea, and the cold incapacity of the painter, joining in disadvantageous influence over them, the Dutch marine paintings may be simply, but circumstantially, described as the misrepresentation of undeveloped shipping in a discolored sea by distempered painters. An exception ought to be made in favor of the boats of Cuyp, which are generally well floated in calm and sunny water; and, though rather punts or tubs than boats, have in them some elements of a slow, warm, square-sailed, sleepy grandeur—respectable always, when compared either with the flickering follies of Backhuysen, or the monstrous, unmanly, and à fortiori, unsailorly absurdities of metaphysical vessels, puffed on their way by corpulent genii, or pushed by protuberant dolphins, which Rubens and the other so-called historical painters of his time were accustomed to introduce in the mythology of their court-adulation; that marvelous Faith of the 18th century, which will one day, and that not far off, be known for a thing more truly disgraceful to human nature than the Polynesian's dance round his feather idol, or Egyptian's worship of the food he fattened on. From Salvator and Domenichino it is possible to turn in a proud indignation, knowing that theirs are no fair examples of the human mind; but it is with humbled and woful anger that we must trace the degradation of the intellect of Rubens in his pictures of the life of Mary of Medicis.[P]
6. Modern Period. The gradual appreciation of the true character both of shipping and the ocean, in the works of the painters of the last half century, is part of that successful study of other elements of landscape, of which I have long labored at a consistent investigation, now partly laid before the public; I shall not, therefore, here enter into any general inquiry respecting modern sea-painting, but limit myself to a notice of the particular feelings which influenced Turner in his marine studies, so far as they are shown in the series of plates which have now been trusted to me for illustration.
Among the earliest sketches from nature which Turner appears to have made, in pencil and Indian ink, when a boy of twelve or fourteen, it is very singular how large a proportion consists of careful studies of stranded boats. Now, after some fifteen years of conscientious labor, with the single view of acquiring knowledge of the ends and powers of art, I have come to one conclusion, which at the beginning of those fifteen years would have been very astonishing to myself—that, of all our modern school of landscape painters, next to Turner, and before the rise of the Pre-Raphaelites, the man whose works are on the whole most valuable, and show the highest intellect, is Samuel Prout. It is very notable that also in Prout's early studies, shipping subjects took not merely a prominent, but I think even a principal, place.
The reason of this is very evident: both Turner and Prout had in them an untaught, inherent perception of what was great and pictorial. They could not find it in the buildings or in the scenes immediately around them. But they saw some element of real power in the boats. Prout afterwards found material suited to his genius in other directions, and left his first love; but Turner retained the early affection to the close of his life, and the last oil picture which he painted, before his noble hand forgot its cunning, was the Wreck-buoy. The last thoroughly perfect picture he ever painted, was the Old Téméraire.
The studies which he was able to make from nature in his early years, are chiefly of fishing-boats, barges, and other minor marine still life; and his better acquaintance with this kind of shipping than with the larger kind is very marked in the Liber Studiorum, in which there are five careful studies of fishing-boats under various circumstances; namely, Calais Harbor, Sir John Mildmay's Picture, Flint Castle, Marine Dabblers, and the Calm; while of other shipping, there are only two subjects, both exceedingly unsatisfactory.