Roundabout Papers

by William Makepeace Thackeray

  The Hague Rembrandt is the greatest and grandest of all his pieces to my mind. Some of the heads are as sweetly and lightly painted as Gainsborough; the faces not ugly, but delicate and high-bred; the exquisite gray tones are charming to mark and study; the heads not plastered, but painted with a free, liquid brush: the result, one of the great victories won by this consummate chief, and left for the wonder and delight of succeeding ages.

  The humblest volunteer in the ranks of art, who has served a campaign or two ever so ingloriously, has at least this good fortune of understanding, or fancying he is able to understand, how the battle has been fought, and how the engaged general won it. This is the Rhinelander's most brilliant achievement—victory along the whole line. The "Night-watch" at Amsterdam is magnificent in parts, but on the side to the spectator's right, smoky and dim. The "Five Masters of the Drapers" is wonderful for depth, strength, brightness, massive power. What words are these to express a picture! to describe a description! I once saw a moon riding in the sky serenely, attended by her sparkling maids of honor, and a little lady said, with an air of great satisfaction, "I MUST SKETCH IT." Ah, my dear lady, if with an H.B., a Bristol board, and a bit of india-rubber, you can sketch the starry firmament on high, and the moon in her glory, I make you my compliment! I can't sketch "The Five Drapers" with any ink or pen at present at command—but can look with all my eyes, and be thankful to have seen such a masterpiece.

  They say he was a moody, ill-conditioned man, the old tenant of the mill. What does he think of the "Vander Helst" which hangs opposite his "Night-watch," and which is one of the great pictures of the world? It is not painted by so great a man as Rembrandt; but there it is—to see it is an event of your life. Having beheld it you have lived in the year 1648, and celebrated the treaty of Munster. You have shaken the hands of the Dutch Guardsmen, eaten from their platters, drunk their Rhenish, heard their jokes, as they wagged their jolly beards. The Amsterdam Catalogue discourses thus about it:—a model catalogue: it gives you the prices paid, the signatures of the painters, a succinct description of the work.

  "This masterpiece represents a banquet of the civic guard, which took place on the 18th June, 1648, in time great hall of the St. Joris Doele, on the Singel at Amsterdam, to celebrate the conclusion of the Peace at Munster. The thirty-five figures composing the picture are all portraits.

  "'The Captain WITSE' is placed at the head of the table, and attracts our attention first. He is dressed in black velvet, his breast covered with a cuirass, on his head a broad-brimmed black hat with white plumes. He is comfortably seated on a chair of black oak, with a velvet cushion, and holds in his left hand, supported on his knee, a magnificent drinking-horn, surrounded by a St. George destroying the dragon, and ornamented with olive-leaves. The captain's features express cordiality and good-humor; he is grasping the hand of 'Lieutenant VAN WAVERN' seated near him, in a habit of dark gray, with lace and buttons of gold, lace-collar and wristbands, his feet crossed, with boots of yellow leather, with large tops, and gold spurs, on his head a black hat and dark-brown plumes. Behind him at the centre of the picture, is the standard-bearer, 'JACOB BANNING,' in an easy martial attitude, hat in hand, his right hand on his chair, his right leg on his left knee. He holds the flag of blue silk, in which the Virgin is embroidered, (such a silk! such a flag! such a piece of painting!) emblematic of the town of Amsterdam. The banner covers his shoulder, and he looks towards the spectator frankly and complacently.

  "The man behind him is probably one of the sergeants. His head is bare. He wears a cuirass, and yellow gloves, gray stockings, and boots with large tops, and kneecaps of cloth. He has a napkin on his knees, and in his hand a piece of ham, a slice of bread, and a knife. The old man behind is probably 'WILLIAM THE DRUMMER.' He has his hat in his right hand, and in his left a gold-footed wineglass, filled with white wine. He wears a red scarf, and a black satin doublet, with little slashes of yellow silk. Behind the drummer, two matchlock-men are seated at the end of the table. One in a large black habit, a napkin on his knee, a hausse-col of iron, and a linen scarf and collar. He is eating with his knife. The other holds a long glass of white wine. Four musketeers, with different shaped hats, are behind these, one holding a glass, the three others with their guns on their shoulders. Other guests are placed between the personage who is giving the toast and the standard-bearer. One with his hat off, and his hand uplifted, is talking to another. The second is carving a fowl. A third holds a silver plate; and another, in the background, a silver flagon, from which he fills a cup. The corner behind the captain is filled by two seated personages, one of whom is peeling an orange. Two others are standing, armed with halberts, of whom one holds a plumed hat. Behind him are other three individuals, one of them holding a pewter pot, on which the name 'Poock,' the landlord of the 'Hotel Doele,' is engraved. At the back, a maid-servant is coming in with a pasty, crowned with a turkey. Most of the guests are listening to the captain. From an open window in the distance, the facades of two houses are seen, surmounted by stone figures of sheep."

  There, now you know all about it: now you can go home and paint just such another. If you do, do pray remember to paint the hands of the figures as they are here depicted; they are as wonderful portraits as the faces. None of your slim Van Dyck elegancies, which have done duty at the cuffs of so many doublets; but each man with a hand for himself, as with a face for himself. I blushed for the coarseness of one of the chiefs in this great company, that fellow behind "WILLIAM THE DRUMMER," splendidly attired, sitting full in the face of the public; and holding a pork-bone in his hand. Suppose the Saturday Review critic were to come suddenly on this picture? Ah! what a shock it would give that noble nature! Why is that knuckle of pork not painted out? at any rate, why is not a little fringe of lace painted round it? or a cut pink paper? or couldn't a smelling-bottle be painted in instead, with a crest and a gold top, or a cambric pocket-handkerchief, in lieu of the horrid pig, with a pink coronet in the corner? or suppose you covered the man's hand (which is very coarse and strong), and gave him the decency of a kid glove? But a piece of pork in a naked hand? O nerves and eau de Cologne, hide it, hide it!

  In spite of this lamentable coarseness, my noble sergeant, give me thy hand as nature made it! A great, and famous, and noble handiwork I have seen here. Not the greatest picture in the world—not a work of the highest genius—but a performance so great, various, and admirable, so shrewd of humor, so wise of observation, so honest and complete of expression, that to have seen it has been a delight, and to remember it will be a pleasure for days to come. Well done, Bartholomeus Vander Helst! Brave, meritorious, victorious, happy Bartholomew, to whom it has been given to produce a masterpiece!

  May I take off my hat and pay a respectful compliment to Jan Steen, Esq.? He is a glorious composer. His humor is as frank as Fielding's. Look at his own figure sitting in the window-sill yonder, and roaring with laughter! What a twinkle in the eyes! what a mouth it is for a song, or a joke, or a noggin! I think the composition in some of Jan's pictures amounts to the sublime, and look at them with the same delight and admiration which I have felt before works of the very highest style. This gallery is admirable—and the city in which the gallery is, is perhaps even more wonderful and curious to behold than the gallery.

  The first landing at Calais (or, I suppose, on any foreign shore)—the first sight of an Eastern city—the first view of Venice—and this of Amsterdam, are among the delightful shocks which I have had as a traveller. Amsterdam is as good as Venice, with a superadded humor and grotesqueness, which gives the sight-seer the most singular zest and pleasure. A run through Pekin I could hardly fancy to be more odd, strange, and yet familiar. This rush, and crowd, and prodigious vitality; this immense swarm of life; these busy waters, crowding barges, swinging drawbridges, piled ancient gables, spacious markets teeming with people; that ever-wonderful Jews' quarter; that dear old world of painting and the past, yet alive, and throbbing, and palpable—actual, and yet passing before you swiftly
and strangely as a dream! Of the many journeys of this Roundabout life, that drive through Amsterdam is to be specially and gratefully remembered. You have never seen the palace of Amsterdam, my dear sir? Why, there's a marble hall in that palace that will frighten you as much as any hall in Vathek, or a nightmare. At one end of that old, cold, glassy, glittering, ghostly, marble hall there stands a throne, on which a white marble king ought to sit with his white legs gleaming down into the white marble below, and his white eyes looking at a great white marble Atlas, who bears on his icy shoulders a blue globe as big as the full moon. If he were not a genie, and enchanted, and with a strength altogether hyperatlantean, he would drop the moon with a shriek on to the white marble floor, and it would splitter into perdition. And the palace would rock, and heave, and tumble; and the waters would rise, rise, rise; and the gables sink, sink, sink; and the barges would rise up to the chimneys; and the water-souchee fishes would flap over the Boompjes, where the pigeons and storks used to perch; and the Amster, and the Rotter, and the Saar, and the Op, and all the dams of Holland would burst, and the Zuyder Zee roll over the dykes; and you would wake out of your dream, and find yourself sitting in your arm-chair.

  Was it a dream? it seems like one. Have we been to Holland? have we heard the chimes at midnight at Antwerp? Were we really away for a week, or have I been sitting up in the room dozing, before this stale old desk? Here's the desk; yes. But, if it has been a dream, how could I have learned to hum that tune out of Dinorah? Ah, is it that tune, or myself that I am humming? If it was a dream, how comes this yellow NOTICE DES TABLEAUX DU MUSEE D'AMSTERDAM AVEC FACSIMILE DES MONOGRAMMES before me, and this signature of the gallant

  BARTHOLOMEUS VANDER HELST, FECIT Ao, 1648.

  Yes, indeed, it was a delightful little holiday; it lasted a whole week. With the exception of that little pint of amari aliquid at Rotterdam, we were all very happy. We might have gone on being happy for whoever knows how many days more? a week more, ten days more: who knows how long that dear teetotum happiness can be made to spin without toppling over?

  But one of the party had desired letters to be sent poste restante, Amsterdam. The post-office is hard by that awful palace where the Atlas is, and which we really saw.

  There was only one letter, you see. Only one chance of finding us. There it was. "The post has only this moment come in," says the smirking commissioner. And he hands over the paper, thinking he has done something clever.

  Before the letter had been opened, I could read COME BACK, as clearly as if it had been painted on the wall. It was all over. The spell was broken. The sprightly little holiday fairy that had frisked and gambolled so kindly beside us for eight days of sunshine—or rain which was as cheerful as sunshine—gave a parting piteous look, and whisked away and vanished. And yonder scuds the postman, and here is the old desk.

  NIL NISI BONUM.

  Almost the last words which Sir Walter spoke to Lockhart, his biographer, were, "Be a good man, my dear!" and with the last flicker of breath on his dying lips, he sighed a farewell to his family, and passed away blessing them.

  Two men, famous, admired, beloved, have just left us, the Goldsmith and the Gibbon of our time.* Ere a few weeks are over, many a critic's pen will be at work, reviewing their lives, and passing judgment on their works. This is no review, or history, or criticism: only a word in testimony of respect and regard from a man of letters, who owes to his own professional labor the honor of becoming acquainted with these two eminent literary men. One was the first ambassador whom the New World of Letters sent to the Old. He was born almost with the republic; the pater patriae had laid his hand on the child's head. He bore Washington's name: he came amongst us bringing the kindest sympathy, the most artless, smiling goodwill. His new country (which some people here might be disposed to regard rather superciliously) could send us, as he showed in his own person, a gentleman, who, though himself born in no very high sphere, was most finished, polished, easy, witty, quiet; and, socially, the equal of the most refined Europeans. If Irving's welcome in England was a kind one, was it not also gratefully remembered? If he ate our salt, did he not pay us with a thankful heart? Who can calculate the amount of friendliness and good feeling for our country which this writer's generous and untiring regard for us disseminated in his own? His books are read by millions** of his countrymen, whom he has taught to love England, and why to love her. It would have been easy to speak otherwise than he did: to inflame national rancors, which, at the time when he first became known as a public writer, war had just renewed: to cry down the old civilization at the expense of the new: to point out our faults, arrogance, short-comings, and give the republic to infer how much she was the parent state's superior. There are writers enough in the United States, honest and otherwise, who preach that kind of doctrine. But the good Irving, the peaceful, the friendly, had no place for bitterness in his heart, and no scheme but kindness. Received in England with extraordinary tenderness and friendship (Scott, Southey, Byron, a hundred others have borne witness to their liking for him), he was a messenger of good-will and peace between his country and ours. "See, friends!" he seems to say, "these English are not so wicked, rapacious, callous, proud, as you have been taught to believe them. I went amongst them a humble man; won my way by my pen; and, when known, found every hand held out to me with kindliness and welcome. Scott is a great man, you acknowledge. Did not Scott's King of England give a gold medal to him, and another to me, your countryman, and a stranger?"

  * Washington Irving died, November 28, 1859; Lord Macaulay died, December 28, 1859. ** See his Life in the most remarkable Dictionary of Authors, published lately at Philadelphia, by Mr. Allibone.

  Tradition in the United States still fondly retains the history of the feasts and rejoicings which awaited Irving on his return to his native country from Europe. He had a national welcome; he stammered in his speeches, hid himself in confusion, and the people loved him all the better. He had worthily represented America in Europe. In that young community a man who brings home with him abundant European testimonials is still treated with respect (I have found American writers, of wide-world reputation, strangely solicitous about the opinions of quite obscure British critics, and elated or depressed by their judgments); and Irving went home medalled by the King, diplomatized by the University, crowned and honored and admired. He had not in any way intrigued for his honors, he had fairly won them; and, in Irving's instance, as in others, the old country was glad and eager to pay them.

  In America the love and regard for Irving was a national sentiment. Party wars are perpetually raging there, and are carried on by the press with a rancor and fierceness against individuals which exceed British, almost Irish, virulence. It seemed to me, during a year's travel in the country, as if no one ever aimed a blow at Irving. All men held their hand from that harmless, friendly peacemaker. I had the good fortune to see him at New York, Philadelphia, Baltimore, and Washington,* and remarked how in every place he was honored and welcome. Every large city has its "Irving House." The country takes pride in the fame of its men of letters. The gate of his own charming little domain on the beautiful Hudson River was for ever swinging before visitors who came to him. He shut out no one.** I had seen many pictures of his house, and read descriptions of it, in both of which it was treated with a not unusual American exaggeration. It was but a pretty little cabin of a place; the gentleman of the press who took notes of the place, whilst his kind old host was sleeping, might have visited the whole house in a couple of minutes.

  * At Washington, Mr. Irving came to a lecture given by the writer, which Mr. Filmore and General Pierce, the President and President Elect, were also kind enough to attend together. "Two Kings of Brentford smelling at one rose," says Irving, looking up with his good-humored smile. ** Mr. Irving described to me, with that humor and good- humor which he always kept, how, amongst other visitors, a member of the British press who had carried his distinguished pen to America (where he employed it in vilifying his own country) c
ame to Sunnyside, introduced himself to Irving, partook of his wine and luncheon, and in two days described Mr. Irving, his house, his nieces, his meal, and his manner of dozing afterwards, in a New York paper. On another occasion, Irving said, laughing, "Two persons came to me, and one held me in conversation whilst the other miscreant took my portrait!"

  And how came it that this house was so small, when Mr. Irving's books were sold by hundreds of thousands, nay, millions, when his profits were known to be large, and the habits of life of the good old bachelor were notoriously modest and simple? He had loved once in his life. The lady he loved died; and he, whom all the world loved, never sought to replace her. I can't say how much the thought of that fidelity has touched me. Does not the very cheerfulness of his after life add to the pathos of that untold story? To grieve always was not in his nature; or, when he had his sorrow, to bring all the world in to condole with him and bemoan it. Deep and quiet he lays the love of his heart, and buries it; and grass and flowers grow over the scarred ground in due time.

  Irving had such a small house and such narrow rooms, because there was a great number of people to occupy them. He could only afford to keep one old horse (which, lazy and aged as it was, managed once or twice to run away with that careless old horseman). He could only afford to give plain sherry to that amiable British paragraph-monger from New York, who saw the patriarch asleep over his modest, blameless cup, and fetched the public into his private chamber to look at him. Irving could only live very modestly, because the wifeless, childless man had a number of children to whom he was as a father. He had as many as nine nieces, I am told—I saw two of these ladies at his house—with all of whom the dear old man had shared the produce of his labor and genius.