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round her as her train and council； who have lost no share or interest in
that great rising up and progress； which bears upward with it every means
of human happiness； but； true in Autumn to the purposes of Spring； are
there to stimulate the race who follow in their steps； to contemplate； with
hearts grown serious； not cold or sad； the striving in which they once had
part； to die in that great Presence； which is Truth and Bravery； and Mercy
to the Weak； beyond all power of separation。
It would be idle to observe of this last group that； both in execution
and idea； they are of the very highest order of Art； and wonderfully serve
the purpose of the picture。 There is not one among its three…and…twenty
heads of which the same remark might not be made。 Neither will we
treat of great effects produced by means quite powerless in other hands for
such an end； or of the prodigious force and colour which so separate this
work from all the rest exhibited； that it would scarcely appear to be
produced upon the same kind of surface by the same description of
instrument。 The bricks and stones and timbers of the Hall itself are not
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facts more indisputable than these。
It has been objected to this extraordinary work that it is too elaborately
finished； too complete in its several parts。 And Heaven knows； if it be
judged in this respect by any standard in the Hall about it； it will find no
parallel； nor anything approaching to it。 But it is a design； intended to be
afterwards copied and painted in fresco； and certain finish must be had at
last； if not at first。 It is very well to take it for granted in a Cartoon that a
series of cross…lines； almost as rough and apart as the lattice…work of a
garden summerhouse； represents the texture of a human face； but the face
cannot be painted so。 A smear upon the paper may be understood； by
virtue of the context gained from what surrounds it； to stand for a limb； or
a body； or a cuirass； or a hat and feathers； or a flag； or a boot； or an angel。
But when the time arrives for rendering these things in colours on a wall；
they must be grappled with； and cannot be slurred over in this wise。
Great misapprehension on this head seems to have been engendered in the
minds of some observers by the famous cartoons of Raphael； but they
forget that these were never intended as designs for fresco painting。
They were designs for tapestry…work； which is susceptible of only certain
broad and general effects； as no one better knew than the Great Master。
Utterly detestable and vile as the tapestry is； compared with the immortal
Cartoons from which it was worked； it is impossible for any man who
casts his eyes upon it where it hangs at Rome； not to see immediately the
special adaptation of the drawings to that end； and for that purpose。 The
aim of these Cartoons being wholly different； Mr。 Maclise's object； if we
understand it； was to show precisely what he meant to do； and knew he
could perform； in fresco； on a wall。 And here his meaning is； worked out；
without a compromise of any difficulty； without the avoidance of any
disconcerting truth； expressed in all its beauty； strength； and power。
To what end？ To be perpetuated hereafter in the high place of the
chief Senate…House of England？ To be wrought； as it were； into the very
elements of which that Temple is composed； to co…endure with it； and still
present； perhaps； some lingering traces of its ancient Beauty； when
London shall have sunk into a grave of grass…grown ruin；and the whole
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circle of the Arts； another revolution of the mighty wheel completed； shall
be wrecked and broken？
Let us hope so。 We will contemplate no other possibilityat present。
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IN MEMORIAMW。 M。
THACKERAY
It has been desired by some of the personal friends of the great English
writer who established this magazine； ｛1｝ that its brief record of his
having been stricken from among men should be written by the old
comrade and brother in arms who pens these lines； and of whom he often
wrote himself； and always with the warmest generosity。
I saw him first nearly twenty…eight years ago； when he proposed to
become the illustrator of my earliest book。 I saw him last； shortly before
Christmas； at the Athenaeum Club； when he told me that he had been in
bed three daysthat； after these attacks； he was troubled with cold
shiverings； 〃which quite took the power of work out of him〃and that he
had it in his mind to try a new remedy which he laughingly described。
He was very cheerful； and looked very bright。 In the night of that day
week； he died。
The long interval between those two periods is marked in my
remembrance of him by many occasions when he was supremely
humorous； when he was irresistibly extravagant； when he was softened
and serious； when he was charming with children。 But； by none do I
recall him more tenderly than by two or three that start out of the crowd；
when he unexpectedly presented himself in my room； announcing how
that some passage in a certain book had made him cry yesterday； and how
that he had come to dinner； 〃because he couldn't help it〃； and must talk
such passage over。 No one can ever have seen him more genial； natural；
cordial； fresh； and honestly impulsive； than I have seen him at those times。
No one can be surer than I； of the greatness and the goodness of the heart
that then disclosed itself。
We had our differences of opinion。 I thought that he too much
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feigned a want of earnestness； and that he made a pretence of under…
valuing his art； which was not good for the art that he held in trust。 But；
when we fell upon these topics； it was never very gravely； and I have a
lively image of him in my mind； twisting both his hands in his hair； and
stamping about； laughing； to make an end of the discussion。
When we wer