Impressions and Comments | Page 8

have frequently confirmed. If when I am walking along near banks and hedges, absorbed in my own thoughts, and chance suddenly to stand still, any wild creature in covert near the spot will at once scuttle hastily and noisily away: the creature which had awaited the approaching tramp in quiet confidence that the moment of danger would soon be overpast if only he kept quiet and concealed, is overcome by so sudden a panic of terror at the arrest of movement in his neighbourhood that he betrays his own presence in the impulse to escape. The silence which one might imagine to be reassuring to the nervous animal is precisely the cause of his terror. It is a useful adaptation to the ways of the great enemy Man, whether it is an adaptation resulting from individual experience or acquired by natural selection. From the stand-point of wild animality it is the Silence of Man that is ominous.
October 11.--When I come, as now, from Cornwall to West Suffolk, I feel that I have left behind a magic land of sea and sky and exquisite atmosphere. But I have entered a land of humanity, and a land whose humanity--it may be in part from ancestral reasons--I find peculiarly congenial. Humanity is not the chief part of the charm of Cornwall, though sometimes it may seem the very efflorescence of the land. It often seems almost a parasite there. It cannot mould the barren and stubborn soil to any ideal human shapes, or develop upon it any rich harmonious human life, such as I inhale always, with immense satisfaction, in this reposeful and beautifully wrought land of Suffolk.
On this evening of my arrival in the charming old town by the quiet river, how delicious--with remembrance still fresh of the square heavy little granite boxes in which the Cornish live--to find once more these ancient, half-timbered houses reminiscent of the Norman houses, but lighter and more various, wrought with an art at once so admirable and so homely, with such delicate detail, the lovely little old windows with the soft light shining through to reveal their pattern.
The musically voiced bells sound the hour from the great church, rich in beauty and tradition, and we walk across the market-place, this side the castle hill--the hill which held for six hundred years the precious jewelled crucifix, with the splinter of the "True Cross" in its secret recess, a careless English queen once lost from her neck--towards our quiet inn, a real museum of interesting things fittingly housed, for supper of Suffolk ham and country ale, and then to bed, before the long walk of the morrow.
October 14.--The Raphaels and the Peruginos are now ranged side by side along a great wall of the National Gallery. I am able more clearly than ever to realise how much more the early master appeals to me than his greater pupil. I well remember how, as a boy of fifteen, in the old National Gallery, I would linger long before Raphael's "St. Catherine." There was no picture in the whole gallery that appealed to my youthful brain as that picture appealed, with its seductive blend of feminine grace and heavenly aspiration. But a little later the glory of Rubens suddenly broke on my vision. I could never look again with the same eyes on Raphael. By an intellectual effort I can appreciate the gracious plenitude of his accomplishment, his copious facility, his immense variety, the beauty of his draughtsmanship, and the felicity of his decorative design. But all this self-conscious skill, this ingenious affectation, this ostentatious muscularity, this immense superficiality--I feel always now a spiritual vacuity behind it which leaves me cold and critical. Every famous achievement of Raphael's, when I come upon it for the first time, repels me with a fresh shock of disillusionment. I am unpleasantly reminded of Andrea del Sarto and even of lesser men; I see the frescoes of Vasari in the distance. It is all the work of a divinely gifted youth who swiftly ran to waste, carrying with him all the art of his day and land to the same fatal abyss.
But the art of Perugino is still solid and beautiful, immutably serene. It radiates peace and strength. I neither criticise nor admire; my attitude is much more nearly that of worship, not of Perugino's images, but of a far-away ineffable mystery, which he in his time humbly sought to make a little more symbolically visible to men than any that came before him. For here we are in the presence of a great tradition which a long series of artists have in succession wrought, each adding a little that expressed the noblest insight of his own soul at its highest and best moments, and the newest acquirement of his technical skill. Raphael