Читать книгу Travels in South Kensington with Notes on Decorative Art and Architecture in England - Moncure Daniel Conway - Страница 4

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HOMELY and Comely were sisters. Their parents were in humble circumstances, and depended mainly on the care and economy of these two daughters—their entire family. They were persons of some social position, and it had constituted a problem how they might preserve some relation to the community and at the same time maintain comfort at home: Youth required the former, Age needed the latter. It was settled in a way which this historian cannot commend: the arrangement was that one of the girls should attend to the external, the other to the internal affairs of the family. So soon as this was resolved, there was no difficulty in determining which of the girls should go out and which stay at home. There was about Comely a certain ease and address, as well as personal attractiveness, which seemed to make society her natural sphere; while the shyness and plainness of Homely made the task of remaining at home congenial. Homely was content with homespun clothes in order that Comely might wear silk. Whenever there was a ball or a festival, Comely was sure to come, and Homely stayed at home.

Gradually, however, this distribution of parts appeared not to have the happiest results. Comely grew so fond of the gay world that her home became distasteful; she demanded, too, more and more of the family resources for her fashionable attire, and the concession deprived the house of everything but the barest utensils. On the other hand, Homely had stayed withindoors so much that she became slovenly, and, as she had to wear her homespun till it was threadbare, in order that her sister might keep up with the fashions, she became unlovely to look upon. Comely came at length to despise her sister. Homely became a peevish drudge. The family by degrees became unhappy, without being very clear as to the cause of their troubles.

One night Comely came home from a ball in unusual agitation. Her sister was aroused to hear the confidence that a lover of rank, handsome and charming, had discovered his interest in Comely. Any differences the sisters may have had were quite forgotten in the renewal of their natural sympathy caused by this incident.

The next morning a messenger arrived to announce that his master, Lord Deeplooke, was on his way to visit Comely and the family in their own home, and would arrive in an hour. Here was a sensation! The two sisters set themselves to work—even Comely using her hands for once—to make the chief room of the house neat. But Comely looked on the blank walls with dismay, and said, “Surely there used to be some pictures.” “Yes,” replied Homely, “but you are wearing the last of them now.” Comely blushed—and the blush was becoming—at this; but the sisters gathered some beautiful flowers and decorated the room as well as they could. When this was attended to Comely was about to repair to her room to decorate herself, and called her sister to do the same; but Homely declared she already had on her very best gown. Comely was shocked at this, and entreated her sister to conceal herself during the nobleman’s visit. This Homely was quite willing to do.

When Lord Deeplooke arrived, Comely met him in the finest array she had next to the ball-dress. She introduced him to her venerable parents; but a shade of anxiety passed over her face when she observed his lordship presently looking around as if he expected some one else. She then remembered that the messenger had announced that he was coming to visit not her alone but the family, and that on the evening before, at the ball, she had casually mentioned her sister. With a quick wit Comely anticipated the inquiry she knew would be made and left the room, remarking, as she did so, “I pray your lordship to excuse me while I seek my sister.” Another moment and the two girls were hurriedly investing Homely in Comely’s second-best dress.

It was a novel experience for Homely to be dressed in a pretty gown; it was equally novel for her to be introduced to a gentleman, much less a lord; and the two novelties together had an almost transforming effect upon her. Home-work and early hours had kept her in perfect health; her manners had no chance to be other than simple; and as no experiences of fashionable life had made her blasé, her face was suffused with an exquisite color, and her eye bright with delight, when she entered the room and was introduced to his lordship.

The reader must not be kept in suspense for another instant. It was not Comely but Homely that Lord Deeplooke ultimately married. Homely having discovered the secret that lay in a becoming dress, chiefly from its effect on the feeling of the wearer, stoutly refused to be slovenly any more; and all her serviceable virtues, thus set in a fit frame, were found to have touched her countenance into unconventional beauty. On the other hand, Comely, though at first jealous and angry, gradually appreciated the lesson she had been taught. She did not, indeed, forget the magical effect wrought on her sister by a beautiful dress; but she pondered deeply the qualities fostered at home which she had supposed incongruous with such raiment, but now saw particularly harmonious with it; and thenceforth, even before Homely was married, Comely devoted herself to household work. Need I say that in this Comely was far more successful than her sister had been? All the beauty she had seen in the gay world, an occasional visit to which she still enjoyed, now became available. Pictures reappeared on the walls, which her sister had supposed were just as useful without them. Touches of color, a ribbon on the curtain which had hitherto been tied with a string, a hundred refinements which required only a cultured taste, gradually transformed the house, just as Comely’s dress had transformed Homely. For these improvements Comely had been glad to part with her mere finery, though she never forgot that a slovenly mistress makes a slatternly home.

Comely subsequently married an artist, who, beginning life as a sign-painter, was made a knight for the best example of domestic decoration exhibited at the Great Exposition of 18—, a model which, he frankly confessed, was suggested by the house in which he found his bride.

There are, indeed, few words in our language of more peculiar, or even pathetic, import than the word “homely.” It has gradually come to bear the significance of coarseness or even ugliness, as if these were quite appropriate to the home. It is, indeed, fortunate that the home can supply affection for things and persons not very presentable; but it is none the less true that the word has gradually come to represent the impression that beauty is for outside show, and that anything will do for home purposes.

Decoration (decus) means the bestowal of honor. Beauty followed honor. Because man honored his deity, grand temples and cathedrals arose and altars blazed with gems; and because he honored the prince and the noble, palaces were decked with splendor. All this time the home remained homely, for religion denied its sanctity and aristocracy despised it as the dwelling-place of a serf. The wealthy called their residences palaces, châteaux, castles, villas, seats, anything but “homes.” The “Home” came to mean some common asylum of the poor. But at last two mighty forces invaded Europe—Democracy and Heresy. Sternly they forbade man longer to spend his strength and his honor on allied Tyranny and Superstition. Then the Arts declined, because the convictions which had inspired them were shaken. Several of the grandest cathedrals were struck by a sort of paralysis and could never get finished, and palaces had to continue their grandeur on terra-cotta and tinsel.

And now the cunning workman, having struck work upon shrines and thrones, began to think of his own mind, so long left vacant that temples might be adorned, of his wife and child, so long stinted that palaces might be luxurious. The first expression of this new reflection was not outward: it was in the decoration of men’s minds with furniture of another kind—with science, poetry, and literature. Enamored of these deeper pleasures, man almost despised and hated the outward arts which symbolized his long thraldom. And perhaps it was necessary that the ancient splendors which invested a departed era should fade, and that man should retire as into an ugly shell to mature the pearl of an inner life. The old artists, artisans, potters—the Bellinis, Angelos, Palissys, Della Robbias—reappeared in Rousseau, Milton, Bunyan—artists of an invisible beauty, disowning Art while frescoing the mind with ideals.

For a time the work of imagination went on in humble dwellings amidst Puritan plainness. But finally, even in the beginning of this generation, it began to be asked in England whether the mind and heart thus formed might not be honored with a fit environment of beauty. To this end London established its great School of Design and Decoration. Thereto have gravitated the fragments of a Past that has crumbled—images, altars, shrines, decorations lavished by genius on ideals ere they hardened to idols; imperial services, jewels, sceptres, wrought before kings became survivals and phantasms. It is England, land of beautiful homes, reviving the art of decoration for the Age of Humanity. She will no longer have the home to be homely. Her call has gone round the world, and temples and palaces deliver up their treasures that they may gather in London, there to teach the millions how they may beautify the latter-day temple, which is the Home, and refine the latter-day king, which is Man.

It is said that the Londoner may be known, in any part of the world where he may die, if his lungs are examined—they being of a sooty color. So much of his great metropolis he is doomed to carry with him wherever he may journey. London itself must forever bear, through and through, the effect of its fogs and its climate. Rain was its architect and Smoke its decorator. But let no one hastily conclude that their work has been all unlovely. John Ruskin has pointed it out as a characteristic of the greatest English artist, Turner, that there was nothing so ugly about England but he could bring beauty out of it; but that fine artist, Necessity, worked long before Turner in transmuting apparent disadvantages to advantages. “It is,” said Charles Kingsley, “the hard gray English climate which has made hard gray Englishmen.” There is as little terra-cotta on the Englishman’s house as on his character. It has been determined for him by Rain and Fog that he shall seek his pleasures by the fireside instead of in public gardens and fêtes. What beauty he can afford must be of the interior. Without, gray dirty brick and wall; within, every comfort and refinement: such are the decree of his superficially dismal decorators. Of course the wealthy Londoners have always fought against their hard climatic environment, and against the ever-encroaching ugliness which is the attendant shadow of millions massed together in the struggle for existence on a small island. There are still a few mansions, only a little way from the present centre of London, which attest the fine taste which its wealthy citizens have always tried to cultivate in the direction of architectural beauty. About two hundred and fifty years ago Northumberland House was described as “in the village of Charing.” That is now Charing Cross, the heart of the metropolis; a street runs over the site of Northumberland House. Where once was Charing hermitage is now a huge hotel and railway station. About two hundred years ago, when the Earl of Burlington was building Burlington House on Piccadilly, about half a mile west of Charing Cross, he was asked why he was building so far away in the country, and replied, “I am resolved to have no house beyond me.” The earl’s resolution was not kept. He lived to find himself amidst a noisy thoroughfare, and now one may travel five miles to the westward of his old country-seat without leaving the avenue of brick and mortar which passes its door. This migration of dwellings to ever-extending suburbs is, indeed, traced in much grander buildings than the tasteful old mansions which are being swallowed up because of their uneconomical occupancy of space: so much general stateliness is secured by the vast increase and diffusion of wealth; but the rarity with which the unique beauties of the older mansions are imitated, and the utter absence of any attempt at individuality in even the wealthiest new quarters—such as Belgrave Square—would seem to indicate that the Londoners have finally adopted it as a creed that external architecture and gardens must no longer be sought for by individuals, but possessed by all in communal forms, as public edifices, squares, and parks. It is now usual, in the new parts of London, for the grandest mansions of a terrace to own a large garden in common, to which each has entrance by a back gate, and to whose maintenance and ornamentation each family contributes a small sum per annum.

In its journey of eighteen centuries, from being that small trading-village mentioned by Tacitus—“not yet dignified with the name of colony”—to its present dimensions, covering 125 square miles, London has been formed by forces of use, by world-historical movements—powers not to be criticised. But we may admire in some of the characteristics of its mighty growth some of that beauty which ever works at the heart of the hardest utility. For example, in its expansion London is said to have swallowed up and built over more than three hundred villages; but in every case the village-green has been spared, and these are now represented by those beautiful and embowered squares which everywhere adorn the metropolis, constitute with the seven large parks its lungs, and make it the healthiest city of the world in proportion to its population. Though the ancient houses built by the wealthy were beautiful, and, wherever remaining, bring such large prices that one wonders why they should not be imitated, yet the homes of the lower classes in old times were far uglier than now. Especially were they made dismal by that barbarous “tax on light,” whose monuments may frequently be observed in windows walled up to avoid the window-tax. The poor had to live in houses illuminated from one or two windows, until the clever gentlemen of the Exchequer perceived the costliness of this means of revenue. As the Swiss mountaineers have come to admire goitres, unless belied by rumor, and as the city man, from having to put up with “high” game, has gradually come to prefer it, so the London builders for a long time placed few windows in houses, and seem to have thought the effect solid and “English,” as contrasted with the light and airy style of French houses. The newest streets of London show, however, that light on this subject has dawned upon the English architectural mind, through that into the homes of the people, to such an extent that the tax is now upon darkness. It is now accepted as a principle that as Smoke has had its way with the outside of the London habitation, hereafter the first decorator of the interior is to be—Light.

In these fragmentary first pages of a fragmentary work, it has been the author’s aim to outline certain general ideas and historical facts, which may illustrate their own illustrations as written in the following pages. It will be best seen, when approached from the historical side, what may be regarded as a necessary factor in English art or architecture, and what may be considered as experiment. This is the more important for the American, who is, in an especial sense, “heir of all the ages,” while not limited to the grooves prescribed by any. It is in America that we are to have the great Art of Arts—that whose task is to utilize the Arts of other lands and ages as pigments, to be combined into new proportions for unprecedented effects, and to invest fairer ideals. For America the author has written these contributions toward a knowledge of what has been done, and is being done, in England; but he would prefer now to burn his work rather than have it aid the retrogressive notion that Art in America is to copy the ornamentation or duplicate the work of other countries, much less of other ages. These things can mean for the artists and people of the United States nothing more than culture; and culture means not a mere eclectic importation of select facts and truths, but their recombination, in obedience to a new vital principle related to a further idea and wider purpose.

SOUTH KENSINGTON MUSEUM.