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a thing which our excellent friend, the employ, and M‘Killop firmly expectdoctor, seemed to repudiate, but could nay, enforce. To me the prospect lost not regret; because it had been the acci- every tint when thus re-touched ; yet if dental occasion of a great benefit, and an they cared to try it, to fail me and reexpected pleasure. They would have a main behind, they were welcome, I said, speedy opportunity of explaining in —so revealing the whole direness of the person. They had themselves brought the letter to Glen-Sambach. They were Had it not been for Ickerson's dread in search of lodgings near. Glen-Sam- of the editor, before mentioned, I susbach and Loch-Diomhair were (they pect he would now have shown defecfound) the very place—the precise kind tion; nay, even then, but for the said of locality--for which Mrs. Blythe had acquaintance with the courteous St. been longing. They were near me, in Clairs, which, if they two remained, he short—and to-morrow they would do must now cultivate. He has no repugthemselves the satisfaction, &c. Any nance like mine, I suspect, for the Blythe friends of mine, and so on, would be circle. As for Frank Moir, he is an an accession to their modest circle, in eager sportsman, otherwise a mere man that sequestered scene, so well depicted of the world ; and he swears by Ickerson by my enthusiastic correspondent, whom in higher matters. The influence posthey hoped soon to number among their sessed by Ickerson over him and others acquaintances.
of the same stamp is curious to me. This was an emergency indeed requir- Ickerson did not reason on the matter; ing the utmost vigour and tact, with he did not even trouble himself to paint unflagging resolution, to disentangle our- M'Killop: giving but one significant selves from it once more; nay, if promptly shrug of his vast shoulders, one exprestaken, to render it the outlet of a com- sive grimace, then taking up his staff plete and trackless escape.
Not that and plaid to follow me. Then Moir, I myself hesitated for a moment; since shouldering his portmanteau for the first it was no other than the Blythe and boy that could be found at hand, gave M'Killop connection I now fled from in a reluctant adhesion, and came with while Glen-Sambach and Loch-Diom- him ; while I obscurely accounted for hair, shared with them, became as the the change to our host, the intelligent suburbs of that public which the Daily but simple-minded pedagogue of the Tribune sways, bringing all its odious Macdonochies. issues after. Like the gold-diggings of It was a misty moonrise, through Kennebec or Bendigo would soon be which, as we silently set forth, we were our fancied El Dorado; the greater its soon lost to the most prying eyes in the charm, the sweeter its secresy and soli- clachan. Instead of suffering our friend's tade, the more speedily to be gone for portmanteau to be delivered to any gillie ever,
whatever, I was ready for the burden Happily, it was evident that they myself. Whither we were going I did knew nothing yet of Ickerson's conti- not say, not even knowing: only taking nuance with me. Fortunately, too, Moir the way which led likeliest to some did not need to fear their subsequent ultimate coach-road ; while truly it may displeasure. All that I had to overcome be said, that, for a time, I had two silent, was the sudden vividness of anticipation unsupporting followers—one sullen, the they had both conceived, the latter espe- other wrapt in most unsociable medicially, from the cordial proffer of young
tation till the moon rose bright upon St. Clair. It was a glowing vision for our rugged path, the lake shimmering me to break yet; if I did not break it, along beneath us through dreamy haze, how much more painfully would it be silence lying behind upon the unseen dissipated by the claim on our society, glen. A new valley was opening up with all its advantages and openings, through the mountains, where the high which Trellington Blythe would amiably road to the grand route lay plainly
No. 7.-VOL. II.
marked, as a turnpike bar reassured me Findhorn of St. John. I will gladly
The milestones to Campbelltown yield the burdensome post of command pledged our security thenceforward. to either, who undertakes our common
“ Ickerson,” I said then, “I am will security from M‘Killop and—and the ing to give up this leadership. Observe, Blythes." I confess my past oversights. I own How clear is that consciousness of that, but for me, this would not have superior will which alone enables us to occurred. There are other spots than' lead onward! When I thus seemed to Loch-Diomhair, doubtless, where we surrender it, neither Ickerson nor Moir may escape, to realise jointly what we felt capable of the function. They have severally at heart. Henceforth, jointly confessed it by their looks, and nevertheless, I relinquish all ambiguity successively repudiated the charge : or subterfuge to your utmost desire. I which I then resolutely took again. will eschew short cuts. Let us go with How I justified it, and how we spent the common stream, if you will, and the holiday-season in joyous companiontake our unpurposed pleasure as we find ship, refreshed for new work, is not to it. Let us even visit, under your guid- the point. Suffice it to say, that I had ance, the tomb of Highland Mary, and learnt how the Blythes avoid the cominscribe our initials, if there is room for mon track, and the M‘Killops follow them, on the walls of the birth-place of them ; thus, however, turning aside the Burns. Or, if Moir inclines, let him vulgar current, and so leaving the old head us to the glorious sport of the channels free. Sutherland lochs, and the favourite
MR. HOLMAN HUNT'S PICTURE,
THE FINDING OF CHRIST IN THE TEMPLE.
All persons conversant with art matters of late have been aware that this distinguished artist has for five 'or six years past been engaged upon a work entitled as above, in executing which he had spared neither time, labour, study, nor expense, in order to put before the world a picture produced exactly in his own ideal-such a one indeed as should display those convictions respecting art which he is known to have made the rule of his life, and has followed out, notwithstanding difficulties and real dangers such as would have utterly defeated most men, or at least modified an ordinary strength of purpose. Conceiving an idea of the great advantages that would result from painting any picture in the very locality where the incident chosen happened, and choosing a Scriptural theme such as this, Mr. Hunt was fortunate in the circumstantial immutability of character
and costume which has prevailed to a great extent in the East from the time of the Saviour until now. In the East traditions linger for ages such as in this more mutable West would have vanished long ago. By the light of this irregular history many customs have been elucidated, the comprehension of which is highly essential to the faithful and observant study of a subject relating to the life of Christ. That a picture to be duly honoured in execution should be painted on its own ground, so to speak, being the leading conviction of the artist's mind, there remained nothing for him but to proceed to Jerusalem when he decided upon this subject. Accordingly this was done, and during a stay of more than eighteen months Mr. Hunt's whole attention was devoted to the study of the material he required, to the getting together of accessorial matter, and actual execution of a considerable part of this picture. The greater ness?" is as much an exhortation to us portion of four succeeding years has as it was a reply to the parents of been given to its completion, and the Christ. result is now before the world.
The unflinching devotion shown by It will be right to premise that Mr. the painter, and the inherent nobility of Hunt's opinions in art, which opinions his principles of art, have then this great were convictions, and, what is far more, merit in them, that the result stands beconvictions put into action, led him to fore us almost with the solemnity of a journey to Jerusalem, not only to study It seems life that has been lived, the best existing examples of the phy- and a potent teaching for us all, not only sical aspect of the race he had to paint to show the way in which our labours but to obtain such material in the way of should be performed by that by which costume as could only be obtained there. Mr. Hunt has executed his- but, by the To do this fully, he acquired before de- vividness and vitality of his representaparting a sound knowledge of the very tion, the first step of Christ's mission history he had to illustrate. Thus pre- produces a fresh, and, it may be, deeper pared, his journey was so far profitable impression upon the mind, than that that we believe there is not one single which most men have to recall the meincident in the action of the picture, or mories of their youth to enter on. This he single point of costume shown—from holds, and we also, to be the true result the very colour of the marble pavement of art. Let us consider to what purpose of the Temple, the jewellery worn, or he has applied these principles, and how instruments carried by the personages the end of this long labour can be said represented-for which he has not actual to fulfil them. or analogical authority. How deep this The distinguishing executive character labour has gone will be best conceived of the picture that strikes the eye at when we say that the long-lost archi- first, is luminous depth and intensity tecture of the second Temple has been of colour, the perfect truth of chiarobrought to a new life in his work. scuro that gives relief and roundness to Based upon the authorities existing, the every part-to which its solidity of whole of the architecture shown in the handling aids potentially — the whole picture may be styled the artist's in- truthful effect being enhanced, when, vention, not in any way a wild flight of upon examination, we discern the minute imagination, but the result of thought- and elaborate finish that has been given ful study, and the building up of part by to the most trifling details. The whole part, founded upon the only true prin- has the roundness and substantiality of ciple of beauty in such designs-that is, nature, utterly unmarred by that want constructive fitness. The whole edifice of balance in parts observable in the is gilded or overlaid with plates of productions of the less accomplished gold, the most minute ornaments are painters of the Pre-Raffaelite school, profoundly studied, extremely diversi- whose shortcomings in this respect have, fied, yet all in keeping with the charac
notwithstanding the earnestness and teristics of Eastern architecture, that de- energy displayed by many among them, rived its archetypes from an Oriental rendered the title “Pre-Raffaelite" alvegetation, and decoratively employed most opprobrious. Let us now turn to the forms of the palm, the vine, and the picture itself. pomegranate. But let it not be consi- The Temple.—A brief vista of gilded dered that these mere archæological columns closed at the end by a latticematters have absorbed the artist beyond work screen of bronze open to the extheir due ; so far from this is the case, ternal air. The immediate locality, an that the design itself is not without a outer chamber of the building, one modern instance of applicability to the valve of the entrance door put wide life of every man, and the “Wist ye not back, showing without the courtyard, that I must be about my Father's busi- with masons' at work selecting a stone,
maybe the “stone of the corner; of the maternal storgé-seeks at the lips the wall the roofs of the city, and far the cheek of her Son. For this the eyes off the hill country. Within, and seated sheathe themselves with levelled lidsupon a low dewân, scarcely raised from for this the body advances beyond the the floor, are the elders of the Temple, hasty feet. It is but to draw him nearer seven in number, arranged in a semi- that one eager hand clasps his removed circle, one horn of which approaches shoulder, and the other eager hand the front of the picture. Behind them raises that which the Son has put upon stand four musicians, whose grouping its wrist, pressing it against his mother's repeats the generally semicircular dispo- bosom. sition of the figures. A flight of doves The feet of all three are bared. Joseph gambol in the air without; several have stands looking down on both ; Mary's entered the building, and fly over the shoes, held by the latchet, are slung over heads of the family of Christ, who stand Joseph's shoulder by one hand; his other by the doorway facing the priest and hand has been upon the arm of Jesus, elders. Mary, who has just discovered until the eager, trembling fingers of the her Son, tenderly embraces, and with mother slid beneath, displacing it in her trembling lips presses her mouth to- passionate haste. Christ has been standwards his face. Lovely is the eager ing before the elders when his parents yearning of her eyes, the lids dropped, entered, and then turned towards the the irides dilated and glittering with front, so that we see his face full. It is tearful dew that has gathered itself into an oval, broadened at the top by a noble, a drop to run down her cheek. Her wide, high-arched forehead, surmounting skin is fair and young, her features abstracted and far-off seeing eyes that moulded appropriately on the pure Jew- round the eyelids open, wistfully and ish type in its finest and tenderest thoughtfully presaging, yet radiant with character. The bold fine nose, the broad, purpose, though mournful and earnest. low, straight forehead, straight eyebrows They express the thought of his reply, -a royal feature; wide-lidded eyes- “ Wist
not that I must be about my reddish with anxiety; the pure fine- Father's business?” He is heedful of lined cheek—a little hollowed, but a his mission-half abstracted from the very little---and rounded, clear-cut chin, embrace. The action of his right hand, make a countenance as noble as it is drawing tighter the broad leathern girdle beautiful. But far beyond the mere of his loins, and the almost passive way nobility of structural perfectness, the in which his fingers rest upon the wrist expression is the tenderest of the utmost of Mary, express this, while the firmlyoutpouring of a heart that has yearned, planted feet, one advanced, although and travailed, and hungered long. That his body sways to his mother's breast, long, long three days of searching has indicate one roused to his labour and marked her cheek and sunk her eyes, ready to enter upon the journey of life. and although the red blood of joy runs The beauty of the head of Christ takes now to its surface, this does but show the eye at once-not only through the how pale it was before. Could I but totally original physical type the artist tell you in my poor words how her has adopted, but by the union of healthy mouth tells all this, how it quivers with physique with intellectual nobleness, a hungry love, arches itself a little over fitting the body for the endurance of the teeth, its angles just retracted, suffering. There is a marked difference ridging a faint line, that is too intense between Hunt's idea of the corporeal for a smile, upon the fair, sweet maternal appearance of our Lord and that usually cheek! Forward her head is thrust, the chosen by the painters, who have shown whole soul at the lips urgent to kiss. him as a delicate valetudinary--for such There is a spasm in the throat, and the is the character imparted by their nostrils breathe sharply, but all the joy- allowing a certain feminine quality to ful agony of the woman-the intensity overweigh the robustness required for the simple performance of his labours. tiful is the son of the King; he is He is here a noble, beautiful boy of dressed in the colours of royalty of the about twelve, broad-chested, wide-shoul- house of Judah ; even his poor robe is dered, active-limbed, and strong to bear a princely garment of stripes of pale and do. The head sustains this charac- crimson and blue—the ordained fringe is ter, the forehead being as
we have about its lower hem. The broad leathern before said, the eyes blue, clear yet belt that goes about his loins is of tender, with all their strength of pur- blood red, and marked with a cross in pose that does but recognise sorrow. The front, an ornament in common use in mouth, pure, sweet, small
, yet pulpy the East from time immemorial, being and full, is compassionate and sympa- the symbol of life even with the thising. The nostrils are full without ancient Egyptians; it is placed approbreadth. The complexion fair, yet rich, priately upon the girdle of Christ. and charged with healthy blood. If we These three form the principal group give attention to the eyes, their beauty placed towards the left of the picture. and nobility become distinct: the broad Facing them are the rabbis and elders, lids are lifted, so that the gaze is open to whom we now turn. and upon vacancy. From the forehead
These are arranged in a sort of semithe hair springs like a flame gathered circle, as was said above, one of its horns about the countenance, parted at the retreating into the picture. The men centre, and laid back to either side ; are of various ages and characters; all the sunlight from without is caught the principal heads were painted at amongst its tips, and breaks in a golden Jerusalem, from Jews whose countehaze like a glory. So placed, this is nances suggested to the artist the chaever the case with hair of that character. racter he wished to represent. The There remains for us to point out one eldest of the rabbis sits in front, whiteexquisite subtlety of expression in this bearded, blind, and decrepit ; with his head : it is this, the near warmth of the lean and feeble hands he holds the rolls Virgin's face causes the side of Christ's of the Pentateuch against his shoulder ; countenance to flush a little, and one the silver ends of the staves on which eyelid to droop and quiver, almost im- this is rolled, with their rattling penperceptibly, but still plainly enough to dants and chains, rise beside his head ; be read.
the crimson velvet case is embroidered Let us point out that this is no tender, with golden vine-wreaths and the mystic smiling Virgin, like that of many of the figure of the Tetragrammaton ; over old masters, blandly regarding a pretty this case is an extra covering or mantle infant-a theme of mere beauty-but a of light pink, striped with blue, intended tearful, trembling, eager, earnest mother to protect the embroidery. As all apfinding the lost Lamb and the devoted purtenances of this holy roll of the law Son. Rightly has Mr. Hunt nationalized were held sacred and beneficent, there her features to the Jewish type. Nor is is placed a pretty little child at the feet Christ like the emaciated student usually of the rabbi, armed with a whisk to brush chosen for a model. Here the intensity off the flies—that is, Beelzebub, from of the artist's thought appears. He has the cover of holy rolls. Behind stands been penetrated with the idea of service, an older boy, furtively invoking a blessuse, and duty; no making of a pretty ing on himself by kissing the mantle picture has been his aim, but rather, in of silk. Blind and half imbecile is the showing us how the noblest and most oldest rabbi; but he who sits next to beautiful submitted to duty, he would him, a mild old man, with a gentle face teach us our own. This is Christ of of faith, holds a phylactery in his hand. the preaching, Christ of the crown of Let us here explain that a phylactery is thorns, Christ of the cross, Christ of not at all one of those placards which it the resurrection and the life eternal, was the custom of the old painters to the soldier and the Son of God. Beau- put over the foreheads of the Pharisees,