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The Harbours of England, a non-fiction book by John Ruskin |
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8. Falmouth |
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_ VIII. FALMOUTH This is one of the most beautiful and best-finished plates of the series, and Turner has taken great pains with the drawing; but it is sadly open to the same charges which were brought against the Dover, of an attempt to reach a false sublimity by magnifying things in themselves insignificant. The fact is that Turner, when he prepared these drawings, had been newly inspired by the scenery of the Continent; and with his mind entirely occupied by the ruined towers of the Rhine, he found himself called upon to return to the formal embrasures and unappalling elevations of English forts and hills. But it was impossible for him to recover the simplicity and narrowness of conception in which he had executed the drawing of the Southern Coast, or to regain the innocence of delight with which he had once assisted gravely at the drying of clothes over the limekiln at Comb Martin, or penciled the woodland outlines of the banks of Dartmouth Cove. In certain fits of prosaic humorism, he would, as we have seen, condemn himself to delineation of the parades of a watering-place; but the moment he permitted himself to be enthusiastic, vaster imaginations crowded in upon him: to modify his old conception in the least, was to exaggerate it; the mount of Pendennis is lifted into rivalship with Ehrenbreitstein, and hardworked Falmouth glitters along the distant bay, like the gay magnificence of Resina or Sorrento. This effort at sublimity is all the more to be regretted, because it never succeeds completely. Shade, or magnify, or mystify as he may, even Turner cannot make the minute neatness of the English fort appeal to us as forcibly as the remnants of Gothic wall and tower that crown the Continental crags; and invest them as he may with smoke or sunbeam, the details of our little mounded hills will not take the rank of cliffs of Alp, or promontories of Apennine; and we lose the English simplicity, without gaining the Continental nobleness. I have also a prejudice against this picture for being disagreeably noisy. Wherever there is something serious to be done, as in a battle piece, the noise becomes an element of the sublimity; but to have great guns going off in every direction beneath one's feet on the right, and all round the other side of the castle, and from the deck of the ship of the line, and from the battery far down the cove, and from the fort on the top of the hill, and all for nothing, is to my mind eminently troublesome. The drawing of the different wreaths and depths of smoke, and the explosive look of the flash on the right, are, however, very wonderful and peculiarly Turneresque; the sky is also beautiful in form, and the foreground, in which we find his old regard for washerwomen has not quite deserted him, singularly skillful. It is curious how formal the whole picture becomes if this figure and the gray stones beside it are hidden with the hand. _ |
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