Aquilius.—Certainly not; and for the same reason. It puts man in a degrading position; and our sympathy is for the poor creatures who fly terrified, not seeing their skulking enemies; and one poor creature is knocked over in his wild flight. It is admirably painted; the scene all we could wish; but the story is bad—the moral bad. You look at the picture without feeling a common desire with the hunters: you wish them away. You have their object put before you basely: their attitudes are mean. It is not a work, great as it is in art, that ought to give pleasure.
Gratian.—And yet you are not displeased reading Mr Scrope’s “Deer-Stalking?” It is only putting his words on canvass.
Curate.—True; but are they faithfully put? and even so, words and paint are not the same; their power is different. The description of language passes on; you are not allowed to dwell too long on what, if seen embodied, would but shock you, by its being arrested, and made permanent. I remember the description. You at first scarcely know if there is a deer or not; it is only the experienced eye can discover the motion of the ear, or some speck of the creature, at a distance. You enter into the breathless caution of the hunter—his steady and earnest hope; but you see not, or only for a moment, the skulking attitude. The poet—for the prose is poetry—touches with a light and delicate hand that which the less discriminating painter grasps, holds firm, and fixes as his subject.
Aquilius.—A just remark. The sentiment is thus made both cruel and mean.
Gratian.—Come, then, let us have something we can entirely praise, by the hand of this prince of animal painters. You will at least admire his “Peace” and “War,” those two most beautiful and poetical pictures.
Aquilius.—The “Peace”—yes. It is most happy; and perhaps the “War,” if we take the moral rightly. It might be bought by the Peace Society. Every one must acknowledge the great beauty and feeling of these pictures. I confess, however, I seldom look upon battle-pieces with much pleasure. The horrors of war are not for the drawing-room; and where they are painted for public position, they are generally in very bad taste. I do not mean here to allude to the companion to Mr Landseer’s “Peace.”
Gratian.—How seldom you see a battle-piece,—that is, a battle! You have some one or more incidents of a battle; but, as a whole, it is not represented. I have no idea of a battle, on which depends the fate of empires, from the exhibition of a grenadier running his bayonet through a prostrate foe, a few dead men, and a couple of horses, one rearing and one dead. Such are the usual representations of battles.
Aquilius.—Yes—vulgar battles; vulgarising the most important events in history: and yet I do not believe it to be impossible to represent a battle poetically, and more truly, than by such incident as Gratian has described, though the regimentals be most accurately painted—and the gold lace has a great charm for the multitude. And perhaps it was in deference to this common taste, that the chief prize was given to the “Battle of Meeanee” in Westminster Hall.
Lydia.—I rejoice to listen to the criticism. We will not have battle-pieces in our boudoir; Curates and their wives are for peace. I go with the poet—
“Le lance rotte, gli scudi spezzati,