And learned to be homely--but the result?
I can scarce express the surprise I felt at the time, though it has since diminished on reflection. All the attempts at historical painting were bad, without exception. There was the usual assortment of Virgins, St. Cecilias, Cupids and Psyches, Zephyrs and Floras;--but such incomparable atrocities! There were some cabinet pictures in the same style in which their Flemish ancestors excelled--such as small interior conversation pieces, battle pieces, and flowers and fruit; some of these were really excellent, but the proportion of bad to good was certainly fifty to one.
No; because with much which was quite as bad, quite as insipid, as coarse in taste, as stupidly presumptuous in attempt, and ridiculous in failure, as ever shocked me on the walls of Somerset House, there was nothing to be compared to the best pictures I have seen there. As I looked and listened to the remarks of the crowd around me, I perceived that the taste for art is even as low in the Netherlands as it is here and elsewhere.
And, surely, not from the want of models, nor from the want of facility in the means of studying them. You visited, of course, Schamp's collection?
Surely; there were miracles of art crowded together like goods in a counting-house, with wondrous economy of space, and more lamentable economy of light. Some were nailed against doors, inside and out, or suspended from screens and window-shutters. Here I saw Rubens' picture of Father Rutseli, the confessor of Albert and Isabella: one of those heads more suited to the crown than to the cowl--grand, sagacious, intellectual, with such a world of meaning in the eye, that one almost shrunk away from the expression. Here, too, I found that remarkable picture of Charles the First, painted by Lely during the king's imprisonment at Windsor--the only one for which he sat between his dethronement and his death: he is still melancholy and gentlemanlike, but not quite so dignified as on the canvass of Vandyke. This is the very picture that Horace Walpole mentions as lost or abstracted from the collection at Windsor. How it came into Schamp's collection, I could not learn. A very small head of an Italian girl by Correggio, or in his manner, hung close beside a Dutch girl by Mieris: equally exquisite as paintings, they gave me an opportunity of contrasting two styles, both founded in nature--but the nature, how different! the one all life, the other life and soul. Schamp's collection is liberally open to the public, as well as many others; if artists fail, it is not for want of models.