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INTRODUCTORY.
One of the last visits we paid before leaving London for a week in Paris was to the South Kensington Museum. Think of the mockery of giving one hour to such a collection of works of art and wonders of all kinds! Why should I consider it worth while to say that we went there at all? All manner of objects succeeded each other in a long series of dissolving views, so to speak, nothing or next to nothing having a chance to leave its individual impress. In the battle for life which took place in my memory, as it always does among the multitude of claimants for a permanent hold, I find that two objects came out survivors of the contest. The first is the noble cast of the column of Trajan, vast in dimensions, crowded with history in its most striking and enduring form; a long array of figures representing in unquestioned realism the military aspect of a Roman army. The second case of survival is thus described in the catalogue: "An altar or shrine of a female saint, recently acquired from Padua, is also ascribed to the same sculptor [Donatello]. This very valuable work of art had for many years been used as a drinking-trough for horses. A hole has been roughly pierced in it." I thought the figure was the most nearly perfect image of heavenly womanhood that I had ever looked upon, and I could have gladly given my whole hour to sitting--I could almost say kneeling--before it in silent contemplation. I found the curator of the Museum, Mr. Soden Smith, shared my feelings with reference to the celestial loveliness of this figure. Which is best, to live in a country where such a work of art is taken for a horse-trough, or in a country where the products from the studio of a self-taught handicraftsman, equal to the shaping of a horse-trough and not much more, are put forward as works of art?
Another day, after going all over Dudley House, including Lady Dudley's boudoir, "in light blue satin, the prettiest room we have seen," A---- says, we went, by appointment, to Westminster Abbey, where we spent two hours under the guidance of Archdeacon Farrar. I think no part of the Abbey is visited with so much interest as Poets' Corner. We are all familiarly acquainted with it beforehand. We are all ready for "O rare Ben Jonson!" as we stand over the place where he was planted standing upright, as if he had been dropped into a post-hole. We remember too well the foolish and flippant mockery of Gay's "Life is a Jest." If I were dean of the cathedral, I should be tempted to alter the J to a G. Then we could read it without contempt; for life is a gest, an achievement,--or always ought to be. Westminster Abbey is too crowded with monuments to the illustrious dead and those who have been considered so in their day to produce any other than a confused impression. When we visit the tomb of Napoleon at the Invalides, no side-lights interfere with the view before us in the field of mental vision. We see the Emperor; Marengo, Austerlitz, Waterloo, Saint Helena, come before us, with him as their central figure. So at Stratford,--the Cloptons and the John a Combes, with all their memorials, cannot make us lift our eyes from the stone which covers the dust that once breathed and walked the streets of Stratford as Shakespeare.
I have not generally given descriptions of the curious objects which I saw in the great houses and museums which I visited. There is, however, a work of art at Longford Castle so remarkable that I must speak of it. I was so much struck by the enormous amount of skilful ingenuity and exquisite workmanship bestowed upon it that I looked up its history, which I found in the "Beauties of England and Wales." This is what is there said of the wonderful steel chair: "It was made by Thomas Rukers at the city of Augsburgh, in the year 1575, and consists of more than 130 compartments, all occupied by groups of figures representing a succession of events in the annals of the Roman Empire, from the landing of ?neas to the reign of Rodolphus the Second." It looks as if a life had gone into the making of it, as a pair or two of eyes go to the working of the bridal veil of an empress.
Little mistakes sometimes cause us a deal of trouble. This time it was the presence or absence of a single letter which led us to fear that an important package destined to America had miscarried. There were two gentlemen unwittingly involved in the confusion. On inquiring for the package at Messrs. Low, the publishers, Mr. Watts, to whom I thought it had been consigned, was summoned. He knew nothing about it, had never heard of it, was evidently utterly ignorant of us and our affairs. While we were in trouble and uncertainty, our Boston friend, Mr. James R. Osgood, came in. "Oh," said he, "it is Mr. Watt you want, the agent of a Boston firm," and gave us the gentleman's address. I had confounded Mr. Watt's name with Mr. Watts's name. "W'at's in a name?" A great deal sometimes. I wonder if I shall be pardoned for quoting six lines from one of my after-dinner poems of long ago:--
If I had a long future before me, I should like above all things to study London with a dark lantern, so to speak, myself in deepest shadow and all I wanted to see in clearest light. Then I should want time, time, time. For it is a sad fact that sight-seeing as commonly done is one of the most wearying things in the world, and takes the life out of any but the sturdiest or the most elastic natures more efficiently than would a reasonable amount of daily exercise on a treadmill. In my younger days I used to find that a visit to the gallery of the Louvre was followed by more fatigue and exhaustion than the same amount of time spent in walking the wards of a hospital.
On the first day of June we called by appointment upon Mr. Peel, the Speaker of the House of Commons, and went through the Houses of Parliament. We began with the train-bearer, then met the housekeeper, and presently were joined by Mr. Palgrave. The "Golden Treasury" stands on my drawing-room table at home, and the name on its title-page had a familiar sound. This gentleman is, I believe, a near relative of Professor Francis Turner Palgrave, its editor.
It is a long while since I read Madame d'Arblay's Recollections, but if I remember right, standing while royalty rests its bones is one of the drawbacks to a maid of honor's felicity.
Among the places which I saw in my first visit was Longford Castle, the seat of the Earl of Radnor. I remembered the curious triangular building, constructed with reference to the doctrine of the Trinity, as churches are built in the form of the cross. I remembered how the omnipresent spire of the great cathedral, three miles away, looked down upon the grounds about the building as if it had been their next-door neighbor. I had not forgotten the two celebrated Claudes, Morning and Evening. My eyes were drawn to the first of these two pictures when I was here before; now they turned naturally to the landscape with the setting sun. I have read my St. Ruskin with due reverence, but I have never given up my allegiance to Claude Lorraine. But of all the fine paintings at Longford Castle, no one so much impressed me at my recent visit as the portrait of Erasmus by Hans Holbein. This is one of those pictures which help to make the Old World worth a voyage across the Atlantic. Portraits of Erasmus are not uncommon; every scholar would know him if he met him in the other world with the look he wore on earth. All the etchings and their copies give a characteristic presentation of the spiritual precursor of Luther, who pricked the false image with his rapier which the sturdy monk slashed with his broadsword. What a face it is which Hans Holbein has handed down to us in this wonderful portrait at Longford Castle! How dry it is with scholastic labor, how keen with shrewd scepticism, how worldly-wise, how conscious of its owner's wide-awake sagacity! Erasmus and Rabelais,--Nature used up all her arrows for their quivers, and had to wait a hundred years and more before she could find shafts enough for the outfit of Voltaire, leaner and keener than Erasmus, and almost as free in his language as the audacious creator of Gargantua and Pantagruel.