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REVIEWS AND LITERARY NOTICES.
Modern Painters. By J. RUSKIN. Vol. V. Smith, Elder, & Co. London.
The completion of a work of the importance of the "Modern Painters," which has occupied in its production the thought and a large portion of the labor of fourteen years, is an event of more interest than it often falls to the lot of a book to excite; but when, as in this case, the result shows the development of an individual taste and critical ability entirely without peer in the history of art-letters, the value of the whole work is immensely enhanced by the time which its publication covers.
The first volume of "Modern Painters" was, as everybody will remember, one of the sensation-books of the time, and fell upon the public opinion of the day like a thunderbolt from the clear sky. Denying, and in many instances overthrowing, the received canons of criticism, and defying all the accepted authorities in it, the author excited the liveliest astonishment and the bitterest hostility of the professional critics in general, and at once divided the world of art, so far as his influence reached, into two parts: the one embracing most of the reverent and conservative minds, and by far the larger; the other, most of the enthusiastic, the radical, and earnest; but this, small in numbers at first, was increased, and still increases, by the force of those qualities of enthusiasm and earnestness, until now, in England, it embraces nearly all of the true and living art of our time. But that volume, professedly treating art with reference to its superficial attributes and for a special purpose, the redemption of a great and revered artist from unjust disparagement and undeserved neglect, touched in scarcely the least degree the vital questions of taste or art-production. It had no considerations of sentiment or discussion of principles to offer: it dealt with facts, and touched the simple truths of Nature with an enthusiastic fire and lucidness which were proof positive of the knowledge and feeling of the author; and the public, either conversant with those facts or capable of being satisfied of them without much thought, abandoned itself to the fascination of his eloquence and acquiesced in his teachings, or arrayed itself in utter hostility to him and his new ideas.
The second volume was more abstruse and deeper in feeling, and comparatively few of Mr. Ruskin's followers through the first cared to get entangled in the metaphysical mazes of the second, and it is generally neglected, although containing some of the deepest and most satisfactory studies on the fundamental principles of art and taste which have ever been printed.
The third and fourth volumes, coming up again nearer the surface, made an application of the principles investigated to the material for art which Nature furnishes; and here again the author found in part his audience diminished among those who had at first been carried away by his enthusiasm or silenced and convinced by his unhesitating dogmatism. A partial reaction took place, owing not only to the change in the tone of the "Modern Painters," but to the springing up of a new school of painting, the consequence, mainly and legitimately, of the teachings of the work,—the pre-Raphaelite,—which, at once attacked virulently and immeasurably by the old school of critics, and defended as earnestly by Mr. Ruskin, became the subject of the war which was still waged between him and them. Turner in the meanwhile had passed away and was admitted to apotheosis, the malignant critics of yesterday becoming the ignorant adulators of to-day: his position was conceded, but the hostility to Ruskin was sustained with unabated bitterness on the new field. He was demolished anew, and proved, many useless times over and over, an ignorant pretender; the public in the meanwhile, even his opponents, taking up in turn his protégés, as he pointed them out to their notice. The effect of his criticisms in enhancing the value of the works they approved would be incredible, if one did not know how glad an English public is to be led. As a single instance,—a drawing which was sold from one of the water-color exhibitions at fifty guineas, sold again, after Ruskin's notice, at two hundred and fifty; and in the lists of pictures sold or to be sold at auction, one sees constantly, "Noticed by Mr. Ruskin," "Approved by Mr. Ruskin," appended to the title.
The third volume, being devoted to the correction of the ideas of Style and the Ideal, to Finish, and a review of the Past Landscape-Painting, recurs to Turner in its closing chapter, "On his Teachers"; the fourth was given to Mountain Beauty, following the parallel of the first, which treated of the Truth of Mountains, and bearing as its burden of moral the expression of that Ideal by Turner; and the fifth now comes to conclude the investigations on the Ideal by chapters: first, on "Leaf Beauty," an exceedingly interesting investigation of the development of the forms of trees and plants as concerned with the laws of beauty; second, "Cloud Beauty"; and then of the "Ideas of Relation," in which the author comes finally to the demonstration of the right of Turner to his position amongst the thinking and poetic painters.
From the first division, "Leaf Beauty," we must make one extract. The author has been speaking of the, influence of the Pine on Swiss character.
"But the point which I desire the reader to note is, that the character of the scene which, if any, appears to have been impressive to the inhabitant is not that which we ourselves feel when we enter the district. It was not from their lakes, nor their cliffs, nor their glaciers, though these were all peculiarly their possession, that the three venerable cantons or states received their name. They were not called the States of the Rock, nor the States of the Lake, but the States of the Forest. And the one of the three which contains the most touching record of the spiritual power of Swiss religion, in the name of the convent of the 'Hill of Angels,' has for its own none but the sweet, childish name of 'Under the Woods.'