The Blame Of Portraits

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Title:     The Blame Of Portraits
Author: Vernon Lee [More Titles by Lee]

Feeling a little bit ashamed of myself, yet relieved at having done with that particular hypocrisy, I unpinned the two facsimiles of drawings from off my study screen and put them in a portfolio. A slight sense of profanation ensued; not so much of infidelity towards those two dear friends, nor certainly of irreverence towards Mr. Watts or the late Sir Edward Burne-Jones, but referable to the insistence with which I had clamoured for those portraits, the delight experienced at their arrival, and the solid satisfaction anticipated from their eternal possession.

We have most of us--of the sentimental ones at least--gone through some similar small drama, and been a little harrowed by it. But though we feel as if there were some sort of naughtiness in us, we are quite blameless, and on the whole rather to be pitied. We are the dupes of a very human craving, and one which seems modest in its demands. What! a mere square of painted canvas, a few pencil scratchings, a bare mechanical photograph, something no rarer than a reflection in a mirror! That is all we ask for, to still the welling-up wistfulness, the clinging reluctance, to console for parting or the thought, almost, of death! We do not guess that this humble desire for a likeness is one of our most signal cravings after the impossible: an attempt to overcome space and baffle time; to imprison and use at pleasure the most fleeting, intangible, and uncommunicable of all mysterious essences, a human personality.

"Often enough I think I have got the turn of her head and neck; but not the face--never the face that speaks," complains the poor bereaved husband in Mary Robinson's beautiful little poem. The case may not be tragic like that one, and yet thoroughly tantalizing; we feel the absent ones opposite to us in the room, we are in that distant room ourselves; there is a sense of their position, of the space they occupy, and thus we see, as through a ghost, the familiar outline, perhaps, of a chair. Or, again, there is the well-known movement, accompanied, perhaps, by the tone of voice, concentrated almost to the longed-for look, and, as the figure advances ... nothing! Like Virgil's Orpheus, our fancy embraces a shadow. "The face--never the face that speaks!" But we _will_ have it, people exclaimed, all those ages ago, and exclaim ever since. And thus they came by the notion of portraits.

And when they got them they grumbled. The cavilling at every newly-painted likeness is notorious. The sitter, indeed, is sometimes easy enough to please, poor human creatures enjoying, as a rule, any notice (however professional) of their existence, let alone an answer to the attractive riddle of _what they look like_. And there are, of course, certain superfine persons who, in the case of a famous artist, think very like the sitter, and are satisfied so long as they get an ornamental picture, or one well up to date. But the truly human grumble, and are more than justified in doing so. Their cravings have been disappointed; they had expected the impossible, and have not got it.

Since, in the very nature of things, a picture, and particularly a fine picture, is always an imperfect likeness. For the image of the sitter on the artist's retina is passed on its way to the canvas through a mind chock full of other images; and is transferred--heaven knows how changed already--by processes of line and curve, of blots of colour, and juxtaposition of light and shade, belonging not merely to the artist himself, but to the artist's whole school. Regarding merely the latter question, we all know that the old Venetians painted people ample, romantic, magnificent; and the old Tuscans painted them narrow, lucid, and commonplace; men of velvet and silk and armour on the one hand, and men of broadcloth and leather, on the other. The difference due to the individual artist is even greater; and, in truth, a portrait gives the sitter's temperament merged in the temperament of the painter.

So, as a rule, portraiture does but defeat its own end. And, stoically speaking, does it much matter? Posterity has done just as well without the transmission of the real Cardinal Hippolytus; and we know that everything always comes right if only we look at it, Spinoza-like, "under the category of the eternal." But we, meanwhile, are not eternal, nor, alas! are our friends; and that is just one of the things which gall us. We cannot believe--how could we?--that the future can have its own witty men and gracious women, its own sufficient objects of love and reverence, even as we have. We feel we _must_ hand on our own great and beloved ones; we _must_ preserve the evanescent personal fragrance, press the flower. And hence, again, portraits and memoirs, Boswell's "Johnson," or Renan's "Ma Soeur Henriette"; grotesque or lovely things, as the case may be, and always pathetic, which tell us that men have always admired and always loved; leaving us to explain, by substituting the image of our own idols, why in that case more specially they did so. Poor people! We do so cling to our particular self and self's preferences; we are so confidently material and literal! And one dreads to think of the cruel self-defence of posterity, when we shall try to push into its notice with phonograph and cinematograph.

Let us, in the presence of such hideous machinery, cease to be literal in matters of sentiment, even at the price of a little sadness and cynicism in recognizing the unreality of everything save our own moods and fancies. Perhaps I feel more strongly on this subject because I happen to have seen with my own eyes the _reductio ad absurdum_--to absurdity how lamentable and dreadful!--of this same human craving for literal preservation of that which should not, cannot, be preserved. It was in the lumber-room of an Italian palace; a life-size doll, with wig of real--perhaps personally real--hair, and dressed from head to foot in the garments of the real poor lady, dead some seventy years ago. I wrote a little tale about it; but the main facts were true, and far surpassed the power of invention. In this case the husband, who had ordered this simulacrum for his solace, taking his daily dose of sentiment in its presence, proceeded, after an interval, to woo and marry his own laundress; and I think, on the whole, this was the least harrowing possible solution. Fancy if he had not found that form of consolation, but had continued trying to be faithful to that dreadful material presence, more rigid, lifeless, meaningless, with every day and every year of familiarity!

In a small way, we all of us commit that man's mistake of thinking that the life of our dear ones is in an image, instead of in the heartbeats which the image--like a name, a place, any associated thing--can produce in ourselves. And only changing things can answer to our changing self; only living creatures live with us. Once learned by heart, the portrait, be it never so speaking, ceases to speak, or we to listen to its selfsame message. What was once company to us, because it awakened a flickering feeling of wished-for presence, becomes, after a time, mere canvas or paper; disintegrates into mere colours or mere black and white. Even the faithfullest among us are utterly faithless to the best-beloved portraits. We have them on our walls or on our writing-tables, and pack and unpack some of them for every journey. But do we look at them? or, looking, do we see them, feel them?

They are not, however, useless; very far from it. You might as well complain of the uselessness of the fire which is burned out, or the extinguished lamp. They have, though for a brief time, pleased, perhaps even consoled, us--warmed our heart with the sense of a loving nearness, shed a light on the visions in our mind. Hence we should cherish them as useful delusions, or rather realities, so long as they awaken a reality of feeling. And 'tis a decent instinct of gratitude, not mere inertness, which causes us to keep them, honoured pensioners of our affections, in honourable places.

Only one thing we should guard against, and act firmly about, despite all sentimental scruples. During the _period of activity_ of a portrait--I mean while we still, more or less, look at it--we must beware lest it take, in our memory, the place of the original. Those unchanging features have the insistence of their definiteness and permanence, and may insidiously extrude, exclude, the fleeting, vacillating outlines of the remembered reality. And those alone concern our heart, and have a right to occupy our fancy. One feels aghast sometimes, on meeting some dear friend after an interval of absence, to find that those real features, that real expression, are not the familiar ones. It is the portrait, the envious counterfeit presentment, which (knowing its poor brief reign) has played us and our friend that mean trick. When this happens we must be merciless, like the fairy-story prince when the wicked creatures in the wood spoke to him in the voice of his mother; piety towards the original arms us with ruthlessness towards the portrait. It was for this same reason that, as I have said, I unpinned from my screen those two facsimiles of drawings, feeling rather a brute while I was doing so.

[The end]
Vernon Lee's essay: Sere And Yellow - Interlude

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