IV. MISCELLANEOUS PAPERS. No. 115. On Raphael's Cartoons at Hampton-Court. Mutum est pictura poema. I have very often lamented, and hinted my sorrow in several speculations, that the art of painting is made so little use of to the improvement of our manners. When we consider that it places the action of the person represented in the most agreeable aspect imaginable, that it does not only express the passion or concern as it sits upon him who is drawn, but has under those features the height of the painter's imagination, what strong images of virtue and humanity might we not expect would be instilled into the mind from the labours of Io the pencil? This is a poetry which would be understood with much less capacity, and less expense of time, than what is taught by writing; but the use of it is generally perverted, and that admirable skill prostituted to the basest and most unworthy ends. Who is the better man for beholding the most beautiful Venus, the best wrought Bacchanal, the images of sleeping Cupids, languishing Nymphs, or any of the representations of gods, goddesses, demi-gods, satyrs, Polyphemes, sphynxes, or fauns? But if the virtues and vices, which are sometimes pretended to be represented under such draughts, 20 were given us by the painter in the characters of real life, and the persons of men and women whose actions have rendered them laudable or infamous; we should not see a good historypiece without receiving an instructive lecture. There needs no other proof of this truth, than the testimony of every reasonable creature who has seen the cartoons " in her majesty's gallery at Hampton-court. These are representations of no less actions than those of our blessed Saviour and his apostles. As I now n sit and recollect the warm images which the admirable Raphael has raised, it is impossible, even from the faint traces in one's memory of what one has not seen these two years, to be unmoved at the horror and reverence which appear in the whole assembly when the mercenary man fell down dead; at the amazement of the man born blind, when he first receives sight; or at the graceless indignation of the sorcerer, when he is struck blind. The lame, when they first find strength in their feet, stand doubtful of their new vigour. 10 The heavenly apostles appear acting these great things with a deep sense of the infirmities which they relieve, but no value of themselves who administer to their weakness. They know themselves to be but instruments; and the generous distress they are painted in when divine honours are offered to them, is a representation in the most exquisite degree of the beauty of holiness. When St. Paul is preaching to the Athenians, with what wonderful art are almost all the different tempers of mankind represented in that elegant audience? You see one credulous of all that is said; another wrapped up in deep 20 suspense; another saying, there is some reason in what he says; another angry that the apostle destroys a favourite opinion which he is unwilling to give up; another wholly convinced, and holding out his hands in rapture; while the generality attend, and wait for the opinion of those who are of leading characters in the assembly. I will not pretend so much as to mention that chart" on which is drawn the appearance of our blessed Lord after his resurrection. Present authority, late sufferings, humility, and majesty, despotic command, and divine love, are at once seated in his celestial aspect. The figures of 30 the eleven apostles are all in the same passion of admiration, but discover it differently according to their characters. Peter receives his master's orders on his knees with an admiration mixed with a more particular attention: the two next with a more open ecstacy, though still constrained by an awe of the Divine presence. The beloved disciple, whom I take to be the right of the two first figures, has in his countenance wonder drowned in love and the last personage, whose back is towards the spectator, and his side towards the presence, one would fancy to be St. Thomas, as abashed by the conscience of his former diffidence, which perplexed concern it is possible 40 Raphael thought too hard a task to draw, but by this acknowledgment of the difficulty to describe it. The whole work is an exercise of the highest piety in the painter; and all the touches of a religious mind are expressed in a manner much more forcible than can possibly be performed by the most moving eloquence. These invaluable pieces are very justly in the hands of the greatest and most pious sovereign in the world; and cannot be the frequent object of every one at their own leisure : but as an engraver is to the painter to what a printer is to the author, it is worthy her majesty's name that she has encouraged that noble artist Monsieur Dorigny", to publish these works of Raphael. We have of this gentleman a piece of the Transfiguration, which, I think, is held a work second to none in the world. Methinks it would be ridiculous in our people of condition, after their large bounties to foreigners of no name or merit, should they overlook this occasion of having, for a trifling subscription, a work which it is impossible for a man of sense to behold, without being warmed with the noblest sentiments that 20 can be inspired by love, admiration, compassion, contempt of this world, and expectation of a better. It is certainly the greatest honour we can do our country, to distinguish strangers of merit who apply to us with modesty and diffidence, which generally accompanies merit. No opportunity of this kind ought to be neglected, and a modest behaviour should alarm us to examine whether we do not lose something excellent under that disadvantage in the possessor of that quality. My skill in paintings, where one is not directed by the passion of the picture, is so inconsiderable, that I am in 30 very great perplexity when I offer to speak of any performances of painters of landscapes, buildings, or single figures. This makes me at a loss how to mention the pieces which Mr. Boul exposes to sale by auction on Wednesday next in Chandosstreet but having heard him commended by those who have bought of him heretofore, for great integrity in his dealing, and overheard him himself (though a laudable painter) say, nothing of his own was fit to come into the room with those he had to sell, I feared I should lose an occasion of serving a man of worth, in omitting to speak of his auction. Spectator, No. 226.] [November 19, 1711. No. 116. A Ramble from Richmond to London. Sine me, vacivum tempus ne quod dem mihi It is an inexpressible pleasure to know a little of the world, and be of no character or significancy in it. To be ever unconcerned, and ever looking on new objects with an endless curiosity, is a delight known only to those who are turned for speculation: nay, they who enjoy it must value things only as they are the objects of speculation, without drawing any worldly advantage to themselves from them, but just as they are what contribute to their amusement, or the improvement of the mind. I lay one night last week at Richmond; 10 and being restless, not out of dissatisfaction, but a certain busy inclination one sometimes has, I rose at four in the morning, and took boat for London, with a resolution to rove by boat and coach for the next four-and-twenty hours, till the many different objects I must needs meet with should tire my imagination, and give me an inclination to a repose more profound than I was at that time capable of. I beg people's pardon for an odd humour I am guilty of, and was often that day, which is saluting any person whom I like, whether I know him or not. This is a particularity would be tolerated in me, if they considered that the 20 greatest pleasure I know I receive at my eyes, and that I am obliged to an agreeable person for coming abroad into my view, as another is for a visit of conversation at their own houses. 30 The hours of the day and night are taken up in the cities of London and Westminster, by people as different from each other as those who are born in different centuries. Men of six o'clock give way to those of nine, they of nine to the generation of twelve; and they of twelve disappear, and make room for the fashionable world, who have made two o'clock the noon of the day. When we first put off from shore, we soon fell in with a fleet of gardeners, bound for the several market ports of London; and it was the most pleasing scene imaginable to see the cheerfulness with which those industrious people plied their way to a certain sale of their goods. The banks on each side are as well IO peopled, and beautified with as agreeable plantations, as any spot on the earth; but the Thames itself, loaded with the product of each shore, added very much to the landscape. It was very easy to observe by their sailing, and the countenances of the ruddy virgins, who were supercargoes, the parts of the town to which they were bound. There was an air in the purveyors for Covent-garden, who frequently converse with morning rakes, very unlike the seeming sobriety of those bound for Stocksmarket ". Nothing remarkable happened in our voyage; but I landed with ten sail of apricot-boats, at Strand-bridge”, after having put in at Nine-Elms, and taken in melons, consigned by Mr.. Cuffe, of that place, to Sarah Sewell and Company, at their stall in Covent-garden. We arrived at Strand-bridge at six of the clock, and were unloading; when the hackney-coachmen of the foregoing night took their leave of each other at the Darkhouse", to go to bed before the day was too far spent. Chimneysweepers passed by us as we made up to the market, and some raillery happened between one of the fruit-wenches and those 20 black men about the Devil and Eve, with allusion to their several professions. I could not believe any place more entertaining than Covent-garden; where I strolled from one fruitshop to another, with crowds of agreeable young women " around me, who were purchasing fruit for their respective families. It was almost eight of the clock before I could leave that variety of objects. I took coach and followed a young lady, who tripped into another just before me, attended by her maid. I saw immediately she was of the family of the Vainloves. There are a set of these, who, of all things, affect the play of 30 Blindman's-buff, and leading men into love for they know not whom, who are fled they know not where. This sort of woman is usually a jaunty slattern; she hangs on her clothes, plays her head, varies her posture, and changes place incessantly, and all with an appearance of striving at the same time to hide herself, and yet give you to understand she is in humour to laugh at you. You must have often seen the coachmen make signs with their fingers, as they drive by each other, to intimate how much they have got that day. They can carry on that language to give intelligence where they are driving. In an instant my 40 coachman took the wink to pursue; and the lady's driver gave |