My mother is much better,—observably so, to-day. Oh, dearest,—I want you to read Landor’s Dialogue between Tasso and his Sister, in the second volume,—with the exquisite Sorrentine scenery—do read it. I see your Tasso with his prominent eyes as if they were ever just brightening out of a sorrow that has broken over them.
How I like (‘love’ is not my word now) but like Landor, more and more!
E.B.B. to R.B.
Monday Evening.
[Post-mark, June 23, 1846.]
Well—I did look everywhere for you to-day,—but not more than I always do—always I do, when I go out, look for you in the streets ... round the corners! And Mrs. Jameson came alone and she and I were alone at Mr. Rogers’s, and you must help me to thank her some day for her unspeakable kindness to me, though she did not leap to the height of the inspiration of managing to let us see those pictures together. Ah—if she had, it would have been too much. As it is, she gave me a great deal of pleasure in the kindest of ways ... and I let it be pleasure, by mixing it with enough thoughts of you—(otherwise how could it be pleasure?)—and she showed the pictures, and instructed me, really taking pains and instructing me ... and telling me how Rubens painted landscapes ... as how should my ignorance guess? ... and various other unknown things The first word as we reached the door, frightened me—for she said that perhaps we might see Mr. Rogers ... which was a little beyond our covenant—but we did not see him, and I suppose the Antinous on the staircase is not at all like him. Grand it is, in its serene beauty. On a colossal scale, in white marble. For the pictures, they are full of wonder and divinity—each giving the measure of a man’s soul. And think ... sketches from the hand of Michael Angelo and Raphael! And a statuette in clay, alive with the life of Michael Angelo’s finger—the blind eyes looking ... seeing ... as if in scorn of all clay! And the union of energy and meditation in the whole attitude! You have seen the marble of that figure in Florence. Then, a divine Virgin and child, worn and faded to a shadow of Raphael’s genius, as Mrs. Jameson explained to me—and the famous ‘Ecce Homo’ of Guido ... and Rubens’ magnificent ‘version,’ as she called it, of Andrea Mantegna’s ‘Triumph of Julius Cæsar.’ So triumphing to this day! And Titian, and Tintoretto ... and what did not strike me the least, ... a portrait of Rembrandt by himself, which if his landscapes, as they say, were ‘dug out of nature,’ looks as if it were dug out of humanity. Such a rugged, dark, deep subterraneous face, ... yet inspired—! seeming to realize that God took clay and breathed into the nostrils of it. There are both the clay, and the divinity! And think! I saw the agreement between the bookseller and Milton for the sale of Paradise Lost! with Milton’s signature and seal! and ‘Witnessed by William Greene, Mr. Milton’s servant.’ How was it possible not to feel giddy with such sights! Almost I could have run my head against the wall, I felt, with bewilderment—and Mrs. Jameson must have been edified, I have thought since, through my intense stupidity. I saw too the first edition of ‘Paradise Lost.’ The rooms are elegant, with no pretension to splendour ... which is good taste, a part of the good taste everywhere. Only, on the chimney-piece of the dining-room, were two small busts, beautiful busts, white with marble, ... and representing—now, whom, of gods and men, would you select for your Lares ... to help your digestion and social merriment?... Caligula and Nero in childhood! The ‘childhood’ is horribly suggestive to me! On the side-board is Pope’s bust, by Roubillac—a too expressive, miserable face—drawn with disease and bitter thoughts, and very painful, I felt, to look at. These things I liked least, in the selection and arrangement. Everything beside was admirable: and I write and write of it all as if I were not tired—but I am ... and most with the excitement and newness. Mrs. Jameson breakfasted with Mr. Rogers yesterday, she said, and met the Countess Hahn-Hahn, who was talking of modern literature when her host suddenly stopped her with a question ... ‘Did you ever read Addison?’
How late it is. Must I have done, before I have half done?
What I did not tell you yesterday is very much in my thoughts ... do you know? I, too, ‘see what I know and testify what I have felt ... and, as far as my faculties of perception go!’ I am confident that you had better not look for a single reason for loving me. Which is worst? A bad reason, or no reason at all? A bad reason, I think—and accept the alternative. Ah ... my own only beloved. And how you write to me to-night! I will read what you tell me in Landor ... but no words of inspired lips or pen ... no poet’s word, of the divinest, ... ever went to my heart as yours in these letters! Do I not love you? am I not your own? And while deserving nothing of all of it, I feel it at least—respond to it—my heart is in your hand. May God bless you ... ‘and me in that,’—because even He could not bless me without that. Which He knows.
Your own.
But there is much beauty in Faustina—oh, surely!
The lilies, all in blow except one ... which is blowing.