The Harbours of England

by John Ruskin

Shipping, therefore, in its perfection, never can become the subject of noble art; and that just because to represent it in its perfection would tax the powers of art to the utmost. If a great painter could rest in drawing a ship, as he can rest in drawing a piece of drapery, we might sometimes see vessels introduced by the noblest workmen, and treated by them with as much delight as they would show in scattering luster over an embroidered dress, or knitting the links of a coat of mail. But ships cannot be drawn at times of rest. More complicated in their anatomy than the human frame itself, so far as that frame is outwardly discernible; liable to all kinds of strange accidental variety in position and movement, yet in each position subject to imperative laws which can only be followed by unerring knowledge; and involving, in the roundings and foldings of sail and hull, delicacies of drawing greater than exist in any other inorganic object, except perhaps a snow wreath,[O]—they present, irrespective of sea or sky, or anything else around them, difficulties which could only be vanquished by draughtsmanship quite accomplished enough to render even the subtlest lines of the human face and form. But the artist who has once attained such skill as this will not devote it to the drawing of ships. He who can paint the face of St. Paul will not elaborate the parting timbers of the vessel in which he is wrecked; and he who can represent the astonishment of the apostles at the miraculous draught will not be solicitous about accurately showing that their boat is overloaded.

"What!" it will perhaps be replied, "have, then, ships never been painted perfectly yet, even by the men who have devoted most attention to them?" Assuredly not. A ship never yet has been painted at all, in any other sense than men have been painted in "Landscapes with figures." Things have been painted which have a general effect of ships, just as things have been painted which have a general effect of shepherds or banditti; but the best average ship-painting no more reaches the truth of ships than the equestrian troops in one of Van der Meulen's battle-pieces express the higher truths of humanity.

Fig. 1

Fig. 2.

Take a single instance. I do not know any work in which, on the whole, there is a more unaffected love of ships for their own sake, and a fresher feeling of sea breeze always blowing, than Stanfield's "Coast Scenery." Now, let the reader take up that book, and look through all the plates of it at the way in which the most important parts of a ship's skeleton are drawn, those most wonderful junctions of mast with mast, corresponding to the knee or hip in the human frame, technically known as "Tops." Under its very simplest form, in one of those poor collier brigs, which I have above endeavored to recommend to the readers affection, the junction of the top-gallant-mast with the topmast, when the sail is reefed, will present itself under no less complex and mysterious form than this in Fig. 1, a horned knot of seven separate pieces of timber, irrespective of the two masts and the yard; the whole balanced and involved in an apparently inextricable web of chain and rope, consisting of at least sixteen ropes about the top-gallant-mast, and some twenty-five crossing each other in every imaginable degree of slackness and slope about the topmast. Two-thirds of these ropes are omitted in the cut, because I could not draw them without taking more time and pains than the point to be illustrated was worth; the thing, as it is, being drawn quite well enough to give some idea of the facts of it. Well, take up Stanfield's "Coast Scenery," and look through it in search of tops, and you will invariably find them represented as in Fig. 2, or even with fewer lines; the example Fig. 2 being one of the tops of the frigate running into Portsmouth harbor, magnified to about twice its size in the plate.

"Well, but it was impossible to do more on so small a scale." By no means: but take what scale you choose, of Stanfield's or any other marine painter's most elaborate painting, and let me magnify the study of the real top in proportion, and the deficiency of detail will always be found equally great: I mean in the work of the higher artists, for there are of course many efforts at greater accuracy of delineation by those painters of ships who are to the higher marine painter what botanical draughtsmen are to the landscapists; but just as in the botanical engraving the spirit and life of the plant are always lost, so in the technical ship-painting the life of the ship is always lost, without, as far as I can see, attaining, even by this sacrifice, anything like completeness of mechanical delineation. At least, I never saw the ship drawn yet which gave me the slightest idea of the entanglement of real rigging.

Respecting this lower kind of ship-painting, it is always matter of wonder to me that it satisfies sailors. Some years ago I happened to stand longer than pleased my pensioner guide before Turner's "Battle of Trafalgar," at Greenwich Hospital; a picture which, at a moderate estimate, is simply worth all the rest of the hospital—ground—walls—pictures and models put together. My guide, supposing me to be detained by indignant wonder at seeing it in so good a place, assented to my supposed, sentiments by muttering in a low voice: "Well, sir, it is a shame that that thing should be there. We ought to 'a 'ad a Uggins; that's sartain." I was not surprised that my sailor friend should be disgusted at seeing the Victory lifted nearly right out of the water, and all the sails of the fleet blowing about to that extent that the crews might as well have tried to reef as many thunder-clouds. But I was surprised at his perfect repose of respectful faith in "Uggins," who appeared to me—unfortunate landsman as I was—to give no more idea of the look of a ship of the line going through the sea, than might be obtained from seeing one of the correct models at the top of the hall floated in a fishpond.

Leaving, however, the sailor to his enjoyment, on such grounds as it may be, of this model drawing, and being prepared to find only a vague and hasty shadowing forth of shipping in the works of artists proper, we will glance briefly at the different stages of excellence which such shadowing forth has reached, and note in their consecutive changes the feelings with which shipping has been regarded at different periods of art.