The Project Gutenberg EBook of Limbo and Other Essays, by Vernon Lee This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Limbo and Other Essays To which is now added Ariadne in Mantua Author: Vernon Lee Release Date: August 23, 2011 [EBook #37179] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK LIMBO AND OTHER ESSAYS *** Produced by Andrea Ball, Christine Bell & Marc D'Hooghe at http://www.freeliterature.org (From images generously made available by the Internet Archive) LIMBO AND OTHER ESSAYS TO WHICH IS NOW ADDED ARIADNE IN MANTUA BY VERNON LEE LONDON—JOHN LANE—THE BODLEY HEAD NEW YORK—JOHN LANE COMPANY MCMVIII CONTENTS LIMBO IN PRAISE OF OLD HOUSES THE LIE OF THE LAND TUSCAN MIDSUMMER MAGIC ON MODERN TRAVELLING OLD ITALIAN GARDENS ABOUT LEISURE RAVENNA AND HER GHOSTS THE COOK-SHOP AND THE FOWLING-PLACE ACQUAINTANCE WITH BIRDS ARIADNE IN MANTUA LIMBO Perocchè gente di molto valore Conobbi che in quel Limbo eran sospesi. I It may seem curious to begin with Dante and pass on to the Children's Rabbits' House; but I require both to explain what it is I mean by Limbo; no such easy matter on trying. For this discourse is not about the Pious Pagans whom the poet found in honourable confinement at the Gate of Hell, nor of their neighbours the Unchristened Babies; but I am glad of Dante's authority for the existence of a place holding such creatures as have just missed a necessary rite, or come too soon for thorough salvation. And I am glad, moreover, that the poet has insisted on the importance—"gente di molto valore"—of the beings thus enclosed; because it is just with the superior quality of the things in what I mean by Limbo that we are peculiarly concerned. And now for the other half of my preliminary illustration of the subject, to wit, the Children's Rabbits' House. The little gardens which the children played at cultivating have long since disappeared, taken insensibly back into that corner of the formal but slackly kept garden which looks towards the steep hill dotted with cows and sheep. But in that corner, behind the shapeless Portugal laurels and the patches of seeding grass, there still remains, beneath big trees, what the children used to call the "Rabbits' Villa." 'Tis merely a wooden toy house, with green moss-eaten roof, standing, like the lake dwellings of prehistoric times, on wooden posts, with the tall foxgloves, crimson and white, growing all round it. There is something ludicrous in this superannuated toy, this Noah's ark on stilts among the grass and bushes; but when you look into the thing, finding the empty plates and cups "for having tea with the rabbits," and when you look into it spiritually also, it grows oddly pathetic. We walked up and down between the high hornbeam hedges, the sunlight lying low on the armies of tall daisies and seeding grasses, and falling in narrow glints among the white boles and hanging boughs of the beeches, where the wooden benches stand unused in the deep grass, and the old swing hangs crazily crooked. Yes, the Rabbits' Villa and the surrounding overgrown beds are quite pathetic. Is it because they are, in a way, the graves of children long dead, as dead—despite the grown-up folk who may come and say "It was I"—as the rabbits and guinea-pigs with whom they once had tea? That is it; and that explains my meaning: the Rabbits' Villa is, to the eye of the initiate, one of many little branch establishments of Limbo surrounding us on all sides. Another poet, more versed in similar matters than Dante (one feels sure that Dante knew his own mind, and always had his own way, even when exiled), Rossetti, in a sonnet, has given us the terrible little speech which would issue from the small Limbos of this kind: Look in my face: My name is Might-have-been. II Of all the things that Limbo might contain, there is one about which some persons, very notably Churchyard Gray, have led us into error. I do not believe there is much genius to be found in Limbo. The world, although it takes a lot of dunning, offers a fair price for this article, which it requires as much as water-power and coal, nay even as much as food and clothes (bread for its soul and raiment for its thought); so that what genius there is will surely be brought into market. But even were it wholly otherwise, genius, like murder, would out; for genius is one of the liveliest forces of nature; not to be quelled or quenched, adaptable, protean, expansive, nay explosive; of all things in the world the most able to take care of itself; which accounts for so much public expenditure to foster and encourage it: foster the sun's chemistry, the force of gravitation, encourage atomic affinity and natural selection, magnificent Mæcenas and judicious Parliamentary Board, they are sure to do you credit! Hence, to my mind, there are no mute inglorious Miltons, or none worth taking into account. Our sentimental surmises about them grow from the notion that human power is something like the wheels or cylinder of a watch, a neat numbered scrap of mechanism, stamped at a blow by a creative fiat, or hand-hammered by evolution, and fitting just exactly into one little plan, serving exactly one little purpose, indispensable for that particular machine, and otherwise fit for the dust-heap. Happily for us, it is certainly not so. The very greatest men have always been the most versatile: Lionardo, Goethe, Napoleon; the next greatest can still be imagined under different circumstances as turning their energy to very different tasks; and I am tempted to think that the hobbies by which many of them have laid much store, while the world merely laughed at the statesman's trashy verses or the musician's third-rate sketches, may have been of the nature of rudimentary organs, which, given a different environment, might have developed, become the creature's chief raison d'être, leaving that which has actually chanced to be his talent to become atrophied, perhaps invisible. Be this last as it may—and I commend it to those who believe in genius as a form of monomania—it is quite certain that genius has nothing in common with machinery. It is the most organic and alive of living organisms; the most adaptable therefore, and least easily killed; and for this reason, and despite Gray's Elegy, there is no chance of much of it in Limbo. This is no excuse for the optimistic extermination of distinguished men. It is indeed most difficult to kill genius, but there are a hundred ways of killing its possessors; and with them as much of their work as they have left undone. What pictures might Giorgione not have painted but for the lady, the rival, or the plague, whichever it was that killed him! Mozart could assuredly have given us a half-dozen more Don Giovannis if he had had fewer lessons, fewer worries, better food; nay, by his miserable death the world has lost, methinks, more even than that—a commanding influence which would have kept music, for a score of years, earnest and masterly but joyful: Rossini would not have run to seed, and Beethoven's ninth symphony might have been a genuine "Hymn to Joy" if only Mozart, the Apollo of musicians, had, for a few years more, flooded men's souls with radiance. A similar thing is said of Rafael; but his followers were mediocre, and he himself lacked personality, so that many a better example might be brought. These are not useless speculations; it is as well we realise that, although genius be immortal, poor men of genius are not. Quite an extraordinary small amount of draughts and microbes, of starvation bodily and spiritual, of pin-pricks of various kinds, will do for them; we can all have a hand in their killing; the killing also of their peace, kindliness, and justice, sending these qualities to Limbo, which is full of such. And now, dear reader, I perceive that we have at last got Limbo well in sight and, in another minute, we may begin to discern some of its real contents. III The Paladin Astolfo, as Ariosto relates, was sent on a winged horse up to the moon; where, under the ciceroneship of John the Evangelist, he saw most of the things which had been lost on earth, among others the wits of many persons in bottles, his cousin Orlando's which he had come on purpose to fetch, and, curiously enough, his own, which he had never missed. The moon does well as storehouse for such brilliant, romantic things. The Limbo whose contents and branches I would speak of is far less glorious, a trifle humdrum; sometimes such as makes one smile, like that Villa of the Rabbits in the neglected garden. 'Twas for this reason, indeed, that I preferred to clear away at once the question of the Mute Inglorious Miltons, and of such solemn public loss as comes of the untimely death of illustrious men. Do you remember, by the way, reader, a certain hasty sketch by Cazin, which hangs in a corner of the Luxembourg? The bedroom of Gambetta after his death: the white bed neatly made, empty, with laurel garlands replacing him; the tricolor flag, half- furled, leaned against the chair, and on the table vague heaped-up papers; a thing quite modest and heroic, suitable to all similar occasions—Mirabeau say, and Stevenson on his far-off island—and with whose image we can fitly close our talk of genius wasted by early death. I have alluded to happiness as filling up much space in Limbo; and I think that the amount of it lying in that kingdom of Might-have-been is probably out of all proportion with that which must do that duty in this actual life. Browning's Last Ride Together—one has to be perpetually referring to poets on this matter, for philosophers and moralists consider happiness in its causal connection or as a fine snare to virtue—Browning's Last Ride Together expresses, indeed, a view of the subject commending itself to active and cheerful persons, which comes to many just after their salad days; to wit, what a mercy that we don't often get what we want most. The objects of our recent ardent longings reveal themselves, most luridly sometimes, as dangers, deadlocks, fetters, hopeless labyrinths, from which we have barely escaped. This is the house I wanted to buy, the employment I fretted to obtain, the lady I pined to marry, the friend with whom I projected to share lodgings. With such sudden chill recognitions comes belief in a special providence, some fine Greek-sounding goddess, thwarting one's dearest wishes from tender solicitude that we shouldn't get what we want. In such a crisis the nobler of us feel like the Riding Lover, and learn ideal philosophy and manly acquiescence; the meaner snigger ungenerously about those youthful escapes; and know not that they have gained safety at the price, very often, of the little good—ideality, faith and dash—there ever was about them: safe, smug individuals, whose safety is mere loss to the cosmos. But later on, when our characters have settled, when repeated changes have taught us which is our unchangeable ego, we begin to let go that optimist creed, and to suspect (suspicion turning to certainty) that, as all things which have happened to us have not been always advantageous, so likewise things longed for in vain need not necessarily have been curses. As we grow less attached to theories, and more to our neighbours, we recognise every day that loss, refusal of the desired, has not by any means always braced or chastened the lives we look into; we admit that the Powers That Be showed considerable judgment in disregarding the teachings of asceticism, and inspiring mankind with innate repugnance to having a bad time. And, to return to the question of Limbo, as we watch the best powers, the whole usefulness and sweetness starved out of certain lives for lack of the love, the liberty, or the special activities they prayed for; as regards the question of Limbo, I repeat, we grow (or try to grow) a little more cautious about sending so much more happiness—ours and other folk's—to the place of Might-have-been. Some of it certainly does seem beyond our control, a fatal matter of constitution. I am not speaking of the results of vice or stupidity; this talk of Limbo is exclusively addressed to the very nicest people. A deal of the world's sound happiness is lost through Shyness. We have all of us seen instances. They often occur between members of the same family, the very similarity of nature, which might make mothers and daughters, brothers and sisters, into closest companions, merely doubling the dose of that terrible reserve, timidity, horror of human contact, paralysis of speech, which keeps the most loving hearts asunder. It is useless to console ourselves by saying that each has its own love of the other. And thus they walk, sometimes side by side, never looking in one another's eyes, never saying the word, till death steps in, death sometimes unable to loosen the tongue of the mourner. Such things are common among our reserved northern races, making us so much less happy and less helpful in everyday life than our Latin and Teuton neighbours; and, I imagine, are commonest among persons of the same blood. But the same will happen between lovers, or those who should have been such; doubt of one's own feeling, fear of the other's charity, apprehension of its all being a mistake, has silently prevented many a marriage. The two, then, could not have been much in love? Not in love, since neither ever allowed that to happen, more's the pity; but loving one another with the whole affinity of their natures, and, after all, being in love is but the crisis, or the beginning of that, if it's worth anything. Thus shyness sends much happiness to Limbo. But actual shyness is not the worst. Some persons, sometimes of the very finest kind, endowed for loving-kindness, passion, highest devotion, nay requiring it as much as air or warmth, have received, from some baleful fairy, a sterilising gift of fear. Fear of what they could not tell; something which makes all community of soul a terror, and every friend a threat. Something terrible, in whose presence we must bow our heads and pray impunity therefrom for ourselves and ours. But the bulk of happiness stacked up in Limbo appears, on careful looking, to be an agglomeration of other lost things; justice, charm, appreciation, and faith in one another, all recklessly packed off as so much lumber, sometimes to make room for fine new qualities instead! Justice, I am inclined to think, is usually sent to Limbo through the agency of others. A work in many folios might be written by condensing what famous men have had said against them in their days of struggle, and what they have answered about others in their days of prosperity. The loss of charm is due to many more circumstances; the stress of life indeed seems calculated to send it to Limbo. Certain it is that few women, and fewer men, of forty, preserve a particle of it. I am not speaking of youth or beauty, though it does seem a pity that mature human beings should mostly be too fat or too thin, and lacking either sympathy or intellectual keenness. Charm must comprise all that, but much besides. It is the undefinable quality of nearly every child, and of all nice lads and girls; the quality which (though it can reach perfection in exceptional old people) usually vanishes, no one knows when exactly, into the Limbo marked by the Rabbits' Villa, with its plates and tea-cups, mouldering on its wooden posts in the unweeded garden. More useful qualities replace all these: hardness, readiness to snatch opportunity, mistrust of all ideals, inflexible self- righteousness; useful, nay necessary; but, let us admit it, in a life which, judged by the amount of dignity and sweetness it contains, is perhaps scarce necessary itself, and certainly not useful. The case might be summed up, for our guidance, by saying that the loss of many of our finer qualities is due to the complacent, and sometimes dutiful, cultivation of our worse ones! For, even in the list of virtues, there are finer and less fine, nay virtues one might almost call atrocious, and virtues with a taint of ignominy. I have said that we lose some of our finer qualities this way; what's worse is, that we often fail to appreciate the finest qualities of others. IV And here, coming to the vague rubric appreciation of others, I feel we have got to a district of Limbo about which few of us should have the audacity to speak, and few, as a fact, have the courage honestly to think. What do we make of our idea of others in our constant attempt to justify ourselves? No Japanese bogie-monger ever produced the equal of certain wooden monster-puppets which we carve, paint, rig out, and christen by the names of real folk—alas, alas, dear names sometimes of friends!—and stick up to gibber in our memory; while the real image, the creature we have really known, is carted off to Limbo! But this is too bad to speak of. Let us rather think gently of things, sad, but sad without ignominy, of friendships still-born or untimely cut off, hurried by death into a place like that which holds the souls of the unchristened babies; often, like them, let us hope, removed to a sphere where such things grow finer and more fruitful, the sphere of the love of those we have not loved enough in life. But that at best is but a place of ghosts; so let us never forget, dear friends, how close all round lies Limbo, the Kingdom of Might-have-been. IN PRAISE OF OLD HOUSES I My Yorkshire friend was saying that she hated being in an old house. There seemed to be other people in it besides the living.... These words, expressing the very reverse of what I feel, have set me musing on my foolish passion for the Past. The Past, but the real one; not the Past considered as a possible Present. For though I should like to have seen ancient Athens, or Carthage according to Salambô, and though I have pined to hear the singers of last century, I know that any other period than this of the world's history would be detestable to live in. For one thing—one among other instances of brutish dulness—our ancestors knew nothing of the emotion of the past, the rapture of old towns and houses. This emotion, at times this rapture, depends upon a number of mingled causes; its origin is complex and subtle, like that of all things exquisite; the flavour of certain dishes, the feel of sea or mountain air, in which chemical peculiarities and circumstances of temperature join with a hundred trifles, seaweed, herbs, tar, heather and so forth; and like, more particularly, music and poetry, whose essence is so difficult of ascertaining. And in this case, the causes that first occur to our mind merely suggest a number more. Of these there is a principal one, only just less important than that suggested by my Yorkshire friend, which might be summed up thus: That the action of time makes man's works into natural objects. Now, with no disrespect to man, 'tis certain Nature can do more than he. Not that she is the more intelligent of the two; on the contrary, she often makes the grossest artistic blunders, and has, for instance, a woeful lack of design in England, and a perfect mania for obvious composition and deliberate picturesqueness in Italy and Argyllshire. But Nature is greater than man because she is bigger, and can do more things at a time. Man seems unable to attend to one point without neglecting some other; where he has a fine fancy in melody, his harmony is apt to be threadbare; if he succeeds with colour, he cannot manage line, and if light and shade, then neither; and it is a circumstance worthy of remark that whenever and wherever man has built beautiful temples, churches, and palaces, he has been impelled to bedizen them with primary colours, of which, in Venice and the Alhambra, time at last made something agreeable, and time also, in Greece, has judged best to obliterate every odious trace. Hence, in the works of man there is always a tendency to simplify, to suppress detail, to make things clear and explain patterns and points of view; to save trouble, thought, and material; to be symmetrical, which means, after all, to repeat the same thing twice over; he knows it is wrong to carve one frieze on the top of the other, and to paint in more than one layer of paint. Of all such restrictions Nature is superbly unconscious. She smears weather-stain on weather-stain and lichen on lichen, never stopping to match them. She jags off corners and edges, and of one meagre line makes fifty curves and facets. She weaves pattern over pattern, regardless of confusion, so that the mangiest hedgerow is richer, more subtle than all the carpets and papers ever designed by Mr. Morris. Her one notion is More, always more; whereas that of man, less likely to exceed, is a timid Enough. No wonder, for has she not the chemistry of soil and sun and moisture and wind and frost, all at her beck and call? Be it as it may, Nature does more for us than man, in the way of pleasure and interest. And to say, therefore, that time turns the works of man into natural objects is, therefore, saying that time gives them infinitely more variety and charm. In making them natural objects also time gives to man's lifeless productions the chief quality of everything belonging to Nature—life. Compare a freshly plastered wall with one that has been exposed to sun and rain, or a newly slated roof to one all covered with crumbling, grey, feathery stuff, like those of the Genoese villages, which look as if they had been thatched with olive-leaves from off their hills. 'Tis the comparison between life and death; or, rather, since death includes change, between something and nothing. Imagine a tree as regular as a column, or an apple as round as a door-knob! II So much for the material improvements which time effects in our surroundings. We now come to the spiritual advantages of dealing with the past instead of the present. These begin in our earliest boy- or girl-hood. What right-minded child of ten or twelve cares, beyond its tribute of apples, and jam, and cricket, and guinea-pigs, for so dull a thing as the present? Why, the present is like this schoolroom or playground, compared with Polar Seas, Rocky Mountains, or Pacific Islands; a place for the body, not for the soul. It all came back to me, a little while ago, when doing up for my young friend, L.V., sundry Roman coins long mislaid in a trunk, and which had formed my happiness at his age. Delightful things!—smooth and bright green like certain cabbage-leaves, or of a sorry brown, rough with rust and verdigris; but all leaving alike a perceptible portion of themselves in the paper bag, a delectable smell of copper on one's hands. How often had I turned you round and round betwixt finger and thumb, trying to catch the slant of an inscription, or to get, in some special light, the film of effaced effigy—the chin of Nero, or the undulating, benevolent nose of Marcus Aurelius? How often have my hands not anointed you with every conceivable mixture of oil, varnish, and gum, rubbing you gently with silk and wool, and kid gloves, in hopes that something ineffable might rise up on your surface! I quite sympathised with my young friend when, having waggled and chortled over each of them several times, he thought it necessary to overcome the natural manly horror for kissing, and shook my hand twice, thrice, and then once more, returning from the door.... For had they not concentrated in their interesting verdigrised, brass-smelling smallness something, to me, of the glory and wonder of Rome? Cæcilia Metella, the Grotto of Egeria—a vague vision, through some twenty years' fog, of a drive between budding hedges and dry reeds; a walk across short anemone-starred turf; but turning into distinct remembrance of the buying of two old pennies, one of Augustus, the other even more interesting, owing to entire obliteration of both reverse and obverse; a valuable coin, undoubtedly. And the Baths of Caracalla, which I can recollect with the thick brushwood, oak scrub, ivy and lentisk, and even baby ilexes, covering the masonry and overhanging the arches, and with rose hedges just cut away to dig out some huge porphyry pillar—were not their charms all concentrated in dim, delicious hopes of finding, just where the green turf ended and the undulating expanse of purple, green and white tessellated pavement began, some other brazen penny? And then, in Switzerland, soon after, did I not suffer acutely, as I cleaned my coins, from the knowledge that in this barbarous Northern place, which the Romans had, perhaps, never come near, it was quite useless to keep one's eyes on the ruts of roads and the gravel of paths, and consequently almost useless to go out, or to exist; until one day I learnt that a certain old lawyer, in a certain field, had actually dug up Roman antiquities.... I don't know whether I ever saw them with corporeal eyes, but certainly with those of the spirit; and I was lent a drawing of one of them, a gold armlet, of which I insisted on having a copy made, and sticking it up in my room.... It does but little honour to our greatest living philosopher that he, whom children will bless for free permission to bruise, burn, and cut their bodies, and empty the sugar-bowl and jam-pot, should wish to deprive the coming generation of all historical knowledge, of so much joy therefore, and, let me add, of so much education. For do not tell me that it is not education, and of the best, to enable a child to feel the passion and poetry of life; to live, while it trudges along the dull familiar streets, in company with dull, familiar, and often stolidly incurious grown-up folk, in that terrible, magnificent past, in dungeons and palaces, loving and worshipping Joan of Arc, execrating Bloody Mary, dreaming strange impossible possibilities of what we would have said and done for Marie Antoinette—said to her, her actually coming towards us, by some stroke of magic, in that advancing carriage! There is enough in afterlife, God knows, to teach us not to be heroic; 'tis just as well that, as children, we learn a lingering liking for the quality; 'tis as important, perhaps, as learning that our tissues consume carbon, if they do so. I can speak very fervently of the enormous value for happiness of such an historical habit of mind. Such a habit transcends altogether, in its power of filling one's life, the merely artistic and literary habit. For, after all, painting, architecture, music, poetry, are things which touch us in a very intermittent way. I would compare this historic habit rather to the capacity of deriving pleasure from nature, not merely through the eye, but through all the senses; and largely, doubtless, through those obscure perceptions which make certain kinds of weather, air, &c., an actual tonic, nay food, for the body. To this alone would I place my historical habit in the second rank. For, as the sensitiveness to nature means supplementing our physical life by the life of the air and the sun, the clouds and waters, so does this historic habit mean supplementing our present life by a life in the past; a life larger, richer than our own, multiplying our emotions by those of the dead.... I am no longer speaking of our passions for Joan of Arc and Marie Antoinette, which disappear with our childhood; I am speaking of a peculiar sense, ineffable, indescribable, but which every one knows again who has once had it, and which to many of us has grown into a cherished habit—the sense of being companioned by the past, of being in a place warmed for our living by the lives of others. To me, as I started with saying, the reverse of this is almost painful; and I know few things more odious than the chilly, draughty emptiness of a place without a history. For this reason America, save what may remain of Hawthorne's New England and Irving's New York, never tempts my vagabond fancy. Nature can scarcely afford beauty wherewith to compensate for living in block-tin shanties or brand new palaces. How different if we find ourselves in some city, nay village, rendered habitable for our soul by the previous dwelling therein of others, of souls! Here the streets are never empty; and, surrounded by that faceless crowd of ghosts, one feels a right to walk about, being invited by them, instead of rushing along on one's errands among a throng of other wretched living creatures who are blocked by us and block us in their turn. How convey this sense? I do not mean that if I walk through old Paris or through Rome my thoughts revolve on Louis XI. or Julius Cæsar. Nothing could be further from the fact. Indeed the charm of the thing is that one feels oneself accompanied not by this or that magnifico of the past (whom of course one would never have been introduced to), but by a crowd of nameless creatures; the daily life, common joy, suffering, heroism of the past. Nay, there is something more subtle than this: the whole place (how shall I explain it?) becomes a sort of living something. Thus, when I hurry (for one must needs hurry through Venetian narrowness) between the pink and lilac houses, with faded shutters and here and there a shred of tracery; now turning a sharp corner before the locksmith's or the chestnut-roaster's; now hearing my steps lonely between high walls broken by a Gothic doorway; now crossing some smooth-paved little square with its sculptured well and balconied palaces, I feel, I say, walking day after day through these streets, that I am in contact with a whole living, breathing thing, full of habits of life, of suppressed words; a sort of odd, mysterious, mythical, but very real creature; as if, in the dark, I stretched out my hand and met something (but without any fear), something absolutely indefinable in shape and kind, but warm, alive. This changes solitude in unknown places into the reverse of solitude and strangeness. I remember walking thus along the bastions under the bishop's palace at Laon, the great stone cows peering down from the belfry above, with a sense of inexpressible familiarity and peace. And, strange to say, this historic habit makes us familiar also with places where we have never been. How well, for instance, do I not know Dinant and Bouvines, rival cities on the Meuse (topography and detail equally fantastic); and how I sometimes long, as with homesickness, for a scramble among the stones and grass and chandelier-like asphodels of Agrigentum, Veii, Collatium! Why, to one minded like myself, a map, and even the names of stations in a time-table, are full of possible delight. And sometimes it rises to rapture. This time, eight years ago, I was fretting my soul away, ill, exiled away from home, forbidden all work, in the south of Spain. At Granada for three dreary weeks it rained without ceasing, till the hill of the Alhambra became filled with the babbling of streams, and the town was almost cut off by a sea of mud. Between the showers one rushed up into the damp gardens of the Generalife, or into the Alhambra, to be imprisoned for hours in its desolate halls, while the rain splashed down into the courts. My sitting-room had five doors, four of glass; and the snow lay thick on the mountains. My few books had been read long ago; there remained to spell through a Spanish tome on the rebellion of the Alpujarras, whose Moorish leader, having committed every crime, finally went to heaven for spitting on the Koran on his death-bed. Letters from home were perpetually lost, or took a week to come. It seemed as if the world had quite unlearned every single trick that had ever given me pleasure. Yet, in these dreary weeks, there was one happy morning. It was the anniversary, worse luck to it, of the Conquest of Granada from the Moors. We got seats in the chapel of the Catholic kings, and watched a gentleman in a high hat (which he kept on in church) and swallow tails, carry the banner of Castile and Aragon, in the presence of the archbishop and chapter, some mediæval pages, two trumpeters with pigtails, and an array of soldiers. A paltry ceremony enough. But before it began, and while mass was still going on, there came to me for a few brief moments that happiness unknown for so many, many months, that beloved historic emotion. My eyes were wandering round the chapel, up the sheaves of the pilasters to the gilded spandrils, round the altars covered with gibbering sculpture, and down again among the crowd kneeling on the matted floor—women in veils, men with scarlet cloak-lining over the shoulder, here and there the shaven head and pigtail of the bull-ring. In the middle of it all, on their marble beds, lay the effigies of Ferdinand and Isabella, with folded hands and rigid feet, four crimson banners of the Moors overhead. The crowd was pouring in from the cathedral, and bevies of priests, and scarlet choir- boys led by their fiddler. The organ, above the chants, was running through vague mazes. I felt it approaching and stealing over me, that curious emotion felt before in such different places: walking up and down, one day, in the church of Lamballe in Brittany; seated, another time, in the porch at Ely. And then it possessed me completely, raising one into a sort of beatitude. This kind of rapture is not easy to describe. No rare feeling is. But I would warn you from thinking that in such solemn moments there sweeps across the brain a paltry pageant, a Lord Mayor's Show of bygone things, like the cavalcades of future heroes who descend from frescoed or sculptured wall at the bidding of Ariosto's wizards and Spenser's fairies. This is something infinitely more potent and subtle; and like all strong intellectual emotions, it is compounded of many and various elements, and has its origin far down in mysterious depths of our nature; and it arises overwhelmingly from many springs, filling us with the throb of vague passions welling from our most vital parts. There is in it no possession of any definite portion of bygone times; but a yearning expectancy, a sense of the near presence, as it were, of the past; or, rather, of a sudden capacity in ourselves of apprehending the past which looms all round. For a few moments thus, in that chapel before the tombs of the Catholic kings; in the churches of Bruges and Innsbruck at the same time (for such emotion gives strange possibilities of simultaneous presence in various places); with the gold pomegranate flower of the badges, and the crimson tassels of the Moorish standards before my eyes; also the iron knights who watch round Maximilian's grave—for a moment while the priests were chanting and the organs quavering, the life of to-day seemed to reel and vanish, and my mind to be swept along the dark and gleaming whirlpools of the past.... III Catholic kings, Moorish banners, wrought-iron statues of paladins; these are great things, and not at all what I had intended to speak of when I set out to explain why old houses, which give my Yorkshire friend the creeps, seem to my feelings so far more peaceful and familiar. Yes, it is just because the past is somehow more companionable, warmer, more full of flavour, than the present, that I love all old houses; but best of all such as are solitary in the country, isolated both from new surroundings, and from such alterations as contact with the world's hurry almost always brings. It certainly is no question of beauty. The houses along Chelsea embankment are more beautiful, and some of them a great deal more picturesque than that Worcestershire rectory to which I always long to return: the long brick house on its terraced river-bank, the overladen plum-trees on one side, and the funereally prosperous churchyard yews on the other; and with corridors and staircases hung with stained, frameless Bolognese nakedness, Judgments of Paris, Venuses, Carità Romanas, shipped over cheap by some bear-leading parson-tutor of the eighteenth century. Nor are they architectural, those brick and timber cottages all round, sinking (one might think) into the rich, damp soil. But they have a mellowness corresponding to that of the warm, wet, fruitful land, and due to the untroubled, warm brooding over by the past. And what is architecture to that? As to these Italian ones, which my soul loveth most, they have even less of what you would call beauty; at most such grace of projecting window-grating or buttressed side as the South gives its buildings; and such colour, or rather discolouring, as a comparatively small number of years will bring. It kept revolving in my mind, this question of old houses and their charm, as I was sitting waiting for a tram one afternoon, in the church-porch of Pieve a Ripoli, a hamlet about two miles outside the south-east gate of Florence. That church porch is like the baldacchino over certain Roman high altars, or, more humbly, like a very large fourpost bedstead. On the one hand was a hillside of purple and brown scrub and dark cypresses fringed against the moist, moving grey sky; on the other, some old, bare, mulberry-trees, a hedge of russet sloe, closing in wintry fields; and, more particularly, next the porch, an insignificant house, with blistered green shutters at irregular intervals in the stained whitewash, a big green door, and a little coat-of-arms—the three Strozzi half-moons—clapped on to the sharp corner. I sat there, among the tombstones of the porch, and wondered why I loved this house: and why it would remain, as I knew it must, a landmark in my memory. Yes, the charm must lie in the knowledge of the many creatures who have lived in this house, the many things that have been done and felt. The creatures who have lived here, the things which have been felt and done.... But those things felt and done, were they not mainly trivial, base; at best nowise uncommon, and such as must be going on in every new house all around? People worked and shirked their work, endured, fretted, suffered somewhat, and amused themselves a little; were loving, unkind, neglected and neglectful, and died, some too soon, some too late. That is human life, and as such doubtless important. But all that goes on to-day just the same; and there is no reason why that former life should have been more interesting than that these people, Argenta Cavallesi and Vincenzio Grazzini, buried at my feet, should have had bigger or better made souls and bodies than I or my friends. Indeed, in sundry ways, and owing to the narrowness of life and thought, the calmer acceptance of coarse or cruel things, I incline to think that they were less interesting, those men and women of the past, whose rustling dresses fill old houses with fantastic sounds. They had, some few of them, their great art, great aims, feelings, struggles; but the majority were of the earth, and intolerably earthy. 'Tis their clothes' ghosts that haunt us, not their own. So why should the past be charming? Perhaps merely because of its being the one free place for our imagination. For, as to the future, it is either empty or filled only with the cast shadows of ourselves and our various machineries. The past is the unreal and the yet visible; it has the fascination of the distant hills, the valleys seen from above; the unreal, but the unreal whose unreality, unlike that of the unreal things with which we cram the present, can never be forced on us. There is more behind; there may be anything. This sense which makes us in love with all intricacies of things and feelings, roads which turn, views behind views, trees behind trees, makes the past so rich in possibilities.... An ordinary looking priest passes by, rings at the door of the presbytery, and enters. Those who lived there, in that old stained house with the Strozzi escutcheon, opposite the five bare mulberry-trees, were doubtless as like as may be to this man who lives there in the present. Quite true; and yet there creeps up the sense that they lived in the past. For there is no end to the deceits of the past; we protest that we know it is cozening us, and it continues to cozen us just as much. Reading over Browning's Galuppi lately, it struck me that this dead world of vanity was no more charming or poetical than the one we live in, when it also was alive; and that those ladies, Mrs. X., Countess Y., and Lady Z., of whose toilettes at last night's ball that old gossip P—— had been giving us details throughout dinner, will in their turn, if any one care, be just as charming, as dainty, and elegiac as those other women who sat by while Galuppi "played toccatas stately at the clavichord." Their dresses, should they hang for a century or so, will emit a perfume as frail, and sad, and heady; their wardrobe filled with such dust as makes tears come into one's eyes, from no mechanical reason. "Was a lady such a lady?" They will say that of ours also. And, in recognising this, we recognise how trumpery, flat, stale and unprofitable were those ladies of the past. It is not they who make the past charming, but the past that makes them. Time has wonderful cosmetics for its favoured ones; and if it brings white hairs and wrinkles to the realities, how much does it not heighten the bloom, brighten the eyes and hair of those who survive in our imagination! And thus, somewhat irrelevantly, concludes my chapter in praise of old houses. THE LIE OF THE LAND NOTES ABOUT LANDSCAPES I I want to talk about the something which makes the real, individual landscape—the landscape one actually sees with the eyes of the body and the eyes of the spirit—the landscape you cannot describe. That is the drawback of my subject—that it just happens to elude all literary treatment, and yet it must be treated. There is not even a single word or phrase to label it, and I have had to call it, in sheer despair, the lie of the land: it is an unnamed mystery into which various things enter, and I feel as if I ought to explain myself by dumb show. It will serve at any rate as an object-lesson in the extreme one-sidedness of language and a protest against human silence about the things it likes best. Of outdoor things words can of course tell us some important points: colour, for instance, and light, and somewhat of their gradations and relations. And an adjective, a metaphor, may evoke an entire atmospheric effect, paint us a sunset or a star-lit night. But the far subtler and more individual relations of visible line defy expression: no poet or prose writer can give you the tilt of a roof, the undulation of a field, the bend of a road. Yet these are the things in landscape which constitute its individuality and which reach home to our feelings. For colour and light are variable—nay, more, they are relative. The same tract will be green in connection with one sort of sky, blue with another, and yellow with a third. We may be disappointed when the woods, which we had seen as vague, moss-like blue before the sun had overtopped the hills, become at midday a mere vast lettuce-bed. We should be much more than disappointed, we should doubt of our senses if we found on going to our window that it looked down upon outlines of hills, upon precipices, ledges, knolls, or flat expanses, different from those we had seen the previous day or the previous year. Thus the unvarying items of a landscape happen to be those for which precise words cannot be found. Briefly, we praise colour, but we actually live in the indescribable thing which I must call the lie of the land. The lie of the land means walking or climbing, shelter or bleakness; it means the corner where we dread a boring neighbour, the bend round which we have watched some one depart, the stretch of road which seemed to lead us away out of captivity. Yes, lie of the land is what has mattered to us since we were children, to our fathers and remotest ancestors; and its perception, the instinctive preference for one kind rather than another, is among the obscure things inherited with our blood, and making up the stuff of our souls. For how else explain the strange powers which different shapes of the earth's surface have over different individuals; the sudden pleasure, as of the sight of an old friend, the pang of pathos which we may all receive in a scene which is new, without memories, and so unlike everything familiar as to be almost without associations? The lie of the land has therefore an importance in art, or if it have not, ought to have, quite independent of pleasantness of line or of anything merely visual. An immense charm consists in the fact that the mind can walk about in a landscape. The delight at the beauty which is seen is heightened by the anticipation of further unseen beauty; by the sense of exploring the unknown; and to our present pleasure before a painted landscape is added the pleasure we have been storing up during years of intercourse, if I may use this word, with so many real ones. II For there is such a thing as intercourse with fields and trees and skies, with the windings of road and water and hedge, in our everyday, ordinary life. And a terrible thing for us all if there were not; if our lives were not full of such various commerce, of pleasure, curiosity, and gratitude, of kindly introduction of friend by friend, quite apart from the commerce with other human beings. Indeed, one reason why the modern rectangular town (built at one go for the convenience of running omnibuses and suppressing riots) fills our soul with bitterness and dryness, is surely that this ill- conditioned convenient thing can give us only its own poor, paltry presence, introducing our eye and fancy neither to further details of itself, nor to other places and people, past or distant. Words can just barely indicate the charm of this other place other time enriching of the present impression. Words cannot in the least, I think, render that other suggestion contained in The Lie of the Land, the suggestion of the possibility of a delightful walk. What walks have we not taken, leaving sacred personages and profane, not to speak of allegoric ones, far behind in the backgrounds of the old Tuscans, Umbrians, and Venetians! Up Benozzo's hillside woods of cypress and pine, smelling of myrrh and sweet-briar, over Perugino's green rising grounds, towards those slender, scant-leaved trees, straight-stemmed acacias and elms, by the water in the cool, blue evening valley. Best of all, have not Giorgione and Titian, Palma and Bonifazio, and the dear imitative people labelled Venetian school, led us between the hedges russet already with the ripening of the season and hour into those fields where the sheep are nibbling, under the twilight of the big brown trees, to where some pale blue alp closes in the slopes and the valleys? III It is a pity that the landscape painters of our day—I mean those French or French taught, whose methods are really new—tend to neglect The Lie of the Land. Some of them, I fear, deliberately avoid it as old-fashioned—what they call obvious—as interfering with their aim of interesting by the mere power of vision and skill in laying on the paint. Be this as it may, their innovations inevitably lead them away from all research of what we may call topographical charm, for what they have added to art is the perfection of very changeable conditions of light and atmosphere, of extremely fleeting accidents of colour. One would indeed be glad to open one's window on the fairyland of iridescent misty capes, of vibrating skies and sparkling seas of Monsieur Claude Monet; still more to stand at the close of an autumn day watching the light fogs rise along the fields, mingling with delicate pinkish mist of the bare poplar rows against the green of the first sprouts of corn. But I am not sure that the straight line of sea and shore would be interesting at any other moment of the day; and the poplar rows and cornfields would very likely be drearily dull until sunset. The moment, like Faust's second of perfect bliss, is such as should be made immortal, but the place one would rather not see again. Yet Monsieur Monet is the one of his school who shows most care for the scene he is painting. The others, even the great ones—men like Pissarro and Sisley, who have shown us so many delightful things in the details of even the dull French foliage, even the dull midday sky—the other modern ones make one long to pull up their umbrella and easel and carry them on—not very far surely—to some spot where the road made a bend, the embankment had a gap, the water a swirl; for we would not be so old-fashioned as to request that the country might have a few undulations.... Of course it was very dull of our ancestors—particularly of Clive Newcome's day—always to paint a panorama with whole ranges of hills, miles of river, and as many cities as possible; and even our pleasure in Turner's large landscapes is spoilt by their being the sort of thing people would drive for miles or climb for hours to enjoy, what our grandfathers in post-chaises called a noble fine prospect. All that had to be got rid of, like the contemporaneous literary descriptions: "A smiling valley proceeded from south-east to north-west; an amphitheatre of cliffs bounding it on the right hand; while to the left a magnificent waterfall leapt from a rock three hundred feet in height and expanded into a noble natural basin of granite some fifty yards in diameter," &c. &c. The British classics, thus busy with compass, measuring-rod and level, thus anxious to enable the reader to reconstruct their landscape on paste-board, had no time of course to notice trifling matters: how, for instance, The woods are round us, heaped and dim; From slab to slab how it slips...