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If one does, he will open his mouth and tle snorkers. These were very widegive out his honking, gabbling noise, awake all at once, as young pigs usuloud enough to be heard in the hush of ally are: they rooted the straw up with early morn a mile away.
their snouts, buried beneath it, poking What we want is to see some of the their heads up to give out a snork and tenants of that farmyard before the a week-week-week or two, just to let house-folks are moving. The sparrows the remainder of their brothers and sisare waking up in their nesting-holes ters know where they had got to: then, under the thatch. Then one of the farm with one of those rushes that only cats crosses the road in front, with young pigs can execute, they are all something in her mouth; not a rat or huddled round the sow, rubbing their rabbit, nor yet a young game bird or snouts against her legs and lean sides hare, but a full-grown stoat. I have in the most affectionate manner, to dash often seen cats with stoats and weasels off again all round the yard, followed by in their mouths that they have killed; their ever-watchful, vicious, grunting yet when puss gets a few yards out of parent. bounds the keeper shoots her when he In ranging over wild places where can. Over the thatched roof of the rough swine with their litters have been great barn a white owl flaps, with some turned out for the mast-feed of a whole small quarry in its bill. This is not season, eyes and ears have to be on the held, as is usually the case, by one foot, alert: for the creatures make rough or, if the prey is of some size, by both. hovers of brush-twigs, rough grass from The reason for this is soon made clear, the tussock-humps, and dead leaves. for the bird makes directly for the top If you are unfortunate enough to stumof the pigeon-cote, hooks on with its ble on or over one of these, the sow will claws to the lower edge of a crack in charge with a rush, making the most the boards, and enters sideways in the desperate snaps with those powerful most expeditious manner, through a jaws which if they struck home would small hole that looked only large enougb. break one's leg. Fortunately the alarm for a starling to pass through.
notes proceeding from her disturbed If a bat enters the trunk of a hollow progeny keep her within a yard or so tree, or a hole in one of its limbs, it flies of the spot. It is best to clear out and to it at full speed and vanishes like a leave them all to it just as quickly as flash. Owls do the same: they look can. This hover-making is the large when on the wing, but I have re- hereditary habit transmitted by their peatedly seen both species—the brown wild progenitors: "what is bred in the owl and the white owl-come with a bone will out in the flesh." dash and disappear like magic into their The rattle of cart-horse hoofs sounds holes, not ten feet above my head. As on the pitching of the stables, and the to how it is done, that is only a matter carter and his mate will soon be there for conjecture; the action is gone to attend to their beasts: so we pass out through far too quickly for you to make of the yard again into the woodland out its details.
road, to come back when all is bathed in To all appearance there is nothing in the light of a golden eve: then the cornthe farmyard but dirty trampled straw: fields above the farm will show out as there are one or two heaps about that great patches of dead gold, the light will look as if one of the farm hands had creep up and over those fields until it shaken
of it up, in passing rests the heather-covered hills through, with his fork. Presently, directly above, which show out in great somewhat to our surprise, for we are masses of purple or pale rose, according not thinking how the raised straw- to the color of the heath. Just before heaps come to be there—one of them the sun dips down, a great shaft of heaves up, the straw falls down on golden light falls for a few moments on either side, and a great, gaunt, red-eyed the blooming heather, causing it to vicious-looking sow rears herself up and appear like some gigantic upland garshakes the straw from her, followed by den, a mass of bloom. nine perky-looking, nose-wriggling lit
A SON OF THE MARSHES.
From Good Words. He taught each of us separately, studyA MEMORABLE ART CLASS.
ing the capacities of each student. Never without an afterglow of grate
We drew a plaster of Paris ball, givful memory will the first art class of the ing the intersecting shadows of a score Working Men's College be remembered of gas lights; then a small plaster cast by those few living who were privileged of a natural leaf. After that he went to to belong to it.
nature; a spray of dried laurel leaves, a How long ago it seems! The whole feather, a bit of spar to show the lines social heavens have altered. In art, in of cleavage; every kind of natural structheology, and in literature, their polar- ture. He soon encouraged us to try ity has changed. It needs some effort color, warning us that gaslight altered to-day to recall the hope that the rise of an the values, but saying that color was the Broad Church inspired. The Rev. too delightful to be foregone. For one Frederick Denison Maurice's lectures pupil he would put a cairngorm pebble are difficult enough reading to-day, but or fluor-spar into a tumbler of water, in 1850 we thought them inspired. The and set him to trace their tangled veins distinction and charm of Maurice's per- of crimson and amethyst. For another sonality were part of the spell, but the he would ing lichen and fungi from whole time was one of expansion and Anerley Woods. Once, to fill us with hope.
despair of color he brought a case of Carlyle was writing “Past and Pres. West Indian birds unstuffed, as the colent;" Charles Kingsley as “Parson Lot” lector had stored them, all rubies and was translating Chartism into gospel, emeralds. Sometimes it
a fif. his latter-day and anti-game-law lyrics teenth-century Gothic missal, when he penetrated like leaven. Maurice's set us counting the order of the colored Bible-class for young men on the Gos- leaves in each spray of the MS. At pel of John was a mystic outpouring. other times it was a splendid Albert It seemed as if a new dispensation was
Dürer wood-cut that we might copy a at hand. I never knew how far our square inch or two of herbage and idenbeloved John Ruskin accepted Maurice- tify the columbines and cyclamens. He ism, but he threw himself heartily into talked much to the class, discursively art work at the College in 1854.
but radiantly. I think I remember that It was a foggy November night when in politics and religion he leaned to three friends presented themselves at order rather than progress. He had the dingy old rooms in Red Lion Square. just published his “Notes on the ConOne of the three was the late too little struction of Sheepfolds;" we hoped we known artist and thinker, James understood it, and thought it admirable. Smetham. We sat upon a school bench I have a delightful memory of an archiand matriculated. The examination tectural evening, principally given to was not rigorous. We read a paragraph French Gothic, comparing Amiens, from a newspaper, wrote a few sen- Rouen, and Beauvais. He reprinted for tences from dictation, and worked a us a chapter from the “Seven Lamps," short division sum. But simple as it with all the illustrations—“Notes on was, Smetham who read Horace and Northern Gothic.” This brochure must Ariosto in the original, broke down be a treasure to-day. (Alas! I lent and three times in the arithmetic.
lost my own.) On another night he We then went up to the studio. On introduced to us Alfred Rethel's work, the third floor two small rooms had especially the weird “Auch ein Todtenbeen broken into one; they were tanz." closely packed with easels as to deny He was hard to please, I remember, in elbow room. Our master had most gen- engraving. Etching he thought friverously provided materials and copies. olous; even Rembrandt's were too elabWe began to work. I cannot hope to orate and over subtle. He praised on describe the delights of those evenings. the other hand the bold, graver work of Twice a week John Ruskin positively the Florentines. For the eighteenthbeamed; he devoted himself to those century lozenge shading he had reprowho gave themselves sincerely to study. bation only. He thought tints should
be line beside line. One day he hung up He used to say if you gave one man a proof of a saint by Domenichino, as the pigments of every tint of the rain“the worst specimen he had ever seen bow, he would paint you a dull picture, of a perilous art.” He praised Blake but give another a little whitening, or a warmly, especially the “Book of Job,” little slate and brickdust, and he will which he said was greater than much of produce a brilliant and harmonious Rembrandt.
one. But he detested most of all the Flax- Although I have reason to think he man outlines, illustrations of Homer was at this time privately suffering, he and Dante. He said they were "exam- seemed delighted with his class. His ples of every kind of falsehood and face would light up when he saw a piece feebleness which it was possible for a of honest or delicate work; it was, pertrained artist to commit. You could haps, his greatest fault as a teacher that not have a more finished example of he was sometimes too lavish of his learned error, amiable want of meaningpraise. He had spent one happy sumand bad drawing with a steady hand.” mer in Switzerland, and brought to And surely we agree with him. He told show us a folio of his work. He had us if we got to like large, cross-hatched, drawn and painted nothing but glaciers. finished prints after Correggio He compared them to dragons, to serRaphael we were lost, unless we forth- pents. They had cast a fetichistic spell with sold, or better still, burned them. over him. On formal occasions he did I showed him a purchase I had made not speak well. His style was overfrom a Saturday night's umbrella, when elaborate and paradoxical, but on these I bought for a few pence a Marc An- evenings he talked divinely; we were tonio's “Muses on Parnassus” and two carried away by the current of his enof Ruysdael's marvellous etchings. thusiasm. Often
subject was But Albert Dürer was his favorite mas- poetry, and then he was never tired of ter. We copied bits of the great and praising Scott. I could not give in to his smaller passions, the “St. Hubert" and dispraise of Coleridge as "sickly and the “St. Jerome.” Nor were we allowed useless," or of Shelley as "shallow and to protest against the angularities and verbose," though I feared he might be deformed toes of the great Nüremberg- right, and that we should have to come er's creation. But of course the pole round to think so. star of his artistic heavens was Turner. He took a great interest in the art One by one, he brought for us to exam- work of a young publisher's assistant, ine his marvels of water-color art from and sent him, at his own expense, to Denmark Hill. He would point out the Venice to copy a few bits of Byzantine subtleties and felicities in their compo- sculpture there. When the student arsition, analyzing on a blackboard their rived he settled down to Titian's “Peter line schemes. Sometimes he would Martyr" instead. Ruskin was indigmake us copy minute portions of a nant, but B- managed to stay on and “Liber,” some line of footsteps, or the paint Venice for himself. He soon got handles of a plough. He would not al- patronized by wealthy Englishmen and low us to copy Turner in colors, saying Americans, and lived there till his that would come years after, at present death. nothing of these but line. How gener- Ruskin never himself knew how much ous he was! He had reams of the best he did for many of us. It is not too stout drawing-paper made specially for much to say that the whole of our folus, supplying every convenience the lit- lowing lives have been enriched by tle rooms would hold. He commis- these hours we spent with him. One sioned William Hunt of the Old Water student drew birds' nests more minutely Color Society to paint two subjects for than Hunt, and another finished groups the class, and both were masterpieces. of fungi beyond human eyesight. One was a golden, metallic, dried her- I cannot remember how soon Dante ring and some open mussel-shells, and Gabriel Rossetti became our joint the other some eggs and yellow onions; teacher. It may have been from the to show how brilliant the humblest sub- first. With him also was associated Mr. jects might become in a master's hands. Lowes Dickinson. Rossetti came
alternate evenings with Ruskin, and sent into our class-room a great hamper taught figure and water-color painting. of birds. There was a fine cock pheas
He was very kind and sincere; he ant, a wild duck, a partridge, a woodspoke little, and with a mournful inflec- pigeon, and other birds. He then chaltion of voice. Art was his religion, he lenged Rossetti, Lowes Dickinson, and never talked Mauriceism. Rossetti was Smetham, to paint a specimen for our not without an unexpected flash of instruction. Dickinson chose the pheassatire. Once a pompous student, who, ant, and tossing it upon the table, in an unlike the generality of us, was able to hour had struck out a bold romantic buy adequate art materials, asked Ros- sketch in browns and reds that was: setti whose colors he advised us to get, very convincing. The partridge and “those of Messrs. R- or of Messrs. wood-pigeon were also painted. Ros
and N- -?" "Ah!" said Ros- setti got the duck, and spent an hour setti, “I don't know, I generally use the tying it on a drawing-board with string halfpenny colors from the oil-shop my- into a round heap. The grey dry brush self.” And I can almost believe it, for I went on, we watching with profound inwell remember a shabby box of frag- terest. The next evening he proceeded ments, that he used to rattle amongst, to cover it with bright chrome. We rubbing with an almost dry brush on grew uneasy, we could see no yellow in hard chips, but getting always the color the bird. For the next few nights he he wanted with surprising and har- was absent, and before the drawing monious effects. His method was, I could proceed another stage, the househave heard, adopted from Madox keeper for sanitary reasons had Brown; they called it the "dry brush moved the model; we never knew what style.” Cobalt and vermilion were scheme he had in his mind. Yet he mixed to a neutral, and the charged could inspire and even thrill us; we brush stroked on a waste piece of paper loved him so, and were happy to render till it ceased to streak. When the him the smallest service. I have said shaded scheme of the design was he talked little, but at times he did so worked over, it had the effect of an un- enthusiastically. I remember how he pleasantly toned aquatint. Into the came late one night and said he had interstices of the paper he worked been with the Brownings, and had bright chrome, cobalt, and red lead! (I played with their only child, "a boy who. am sure red lead, with pangs of con- did not know his parents were poets, science being treacherous.) For and that Mrs. Browning had read some.. flesh he used vermilion with raw emer- pages from her new poem that would be ald green, and a little purple carmine. immortal. It was to be called “Aurora Half done, his work had a strange iri- Leigh.” Whereat some one asked what descence, but he was far too sensitive was Robert Browning as a poet like?' an artist to be satisfied tiil he got the Rossetti cried fiercely, "Like?” Why, depth and harmony he sought; and I in his lyrics, he is like Shelley, in his feel sure, although he disclaimed it, and dramas he is like Shakespeare!" believed somehow he had not done it, Sometimes we got permission to see he glazed and deepened his shadows. his pictures. I remember at this time, He objected to pencil outlines. He his memorable cupboard, painted I would say: "The masses of shade are think for William Morris. On one lid the drawing, begin with them. The was Dante's first meeting with Beatrice first fact to notice is the shade on one in a Florence street, and on the other side the nose, put that in as tint; then Dante's last vision of her in the earthly the shade on cheek and chin.” He paradise, when she lifts her veil and thought it insincere to put drawing says, "Look at me well, for in sooth I where it was only inferred. Thus, am Beatrice.” She is standing beside a when I had once drawn the return to an lovely hedge of
with brilliant eyelid, he said: “Get rid of that aca- birds flying. The keyhole and the demic fribble! draw only what you see.” handle came frankly into the picture.
On one occasion, Ruskin had been I have seen them since; the furniture redenying wings to angels, but wishing to moved and the panels framed as picshow how pinions should be drawn, he tures. But they looked less startlingly
beautiful than at first. Another picture a motive for a picture, two lovers em-
teacher. Burne-Jones, who was then About this time too I saw on the wood Venetian in feeling, rather than Florenthe charming drawing of the Maids of tine, came for some months. Mr. ValenElfin Mere done for that violet of a
tine Prinsep followed, giving valuable book, “Day and Night Songs,” by Wil- teaching; but the class had changed. liam Allingham, published in 1855. In Maurice and Kingsley died. The old 1862 he designed a mystical frontispiece unity was gone. We did much more life to his sister Christina's volume, “The work. Our models were simple, unproGoblin Market and other Poems.” Be fessional folk. One night the sitter was sides these I am not aware that he drew absent, and a student went into the again for the press. One day Rossetti street to capture a substitute. After scribbled in ink on the back of a letter some time he returned with two reluc1 I saw on the wood the mysterious' heading to
tant navvies, tempted by half a crown the “ palace of art" — St. Cicely with lovely fall.
each for the evening. They were very ing hair and the amazmg “ angel that looked at suspicious; and when they had stumher." Below a soldier ate an apple and a dove bled up two flights of stairs the door of escaped from a prison grating.
the physiology class stood open, with