I suppose no child will ever again enjoy that rapture of unresisting humorous appreciation of 'Pickwick'. I felt myself to be in the company of a gentleman so extremely funny that I began to laugh before he began to speak; no sooner did he remark 'the sky was dark and gloomy, the air was damp and raw,' than I was in fits of hilarity. My retirement in our sequestered corner of life made me, perhaps, even in this matter, somewhat old-fashioned, and possibly I was the latest of the generation who accepted Mr.
Pickwick with an unquestioning and hysterical abandonment.
Certainly few young people now seem sensitive, as I was, and as thousands before me had been, to the quality of his fascination.
It was curious that living in a household where a certain delicate art of painting was diligently cultivated, I had yet never seen a real picture, and was scarcely familiar with the design of one in engraving. My stepmother, however, brought a flavour of the fine arts with her; a kind of aesthetic odour, like that of lavender, clung to her as she moved. She had known authentic artists in her youth; she had watched Old Crome painting, and had taken a course of drawing-lessons from no less a person than Cotman. She painted small watercolour landscapes herself, with a delicate economy of means and a graceful Norwich convention; her sketch-books were filled with abbeys gently washed in, river-banks in sepia by which the elect might be dimly reminded of Liber Studiorum, and woodland scenes over which the ghost of Creswick had faintly breathed. It was not exciting art, but it was, so far as it went, in its lady-like reserve, the real thing. Our sea--anemones, our tropic birds, our bits of spongy rock filled and sprayed with corallines, had been very conscientious and skilful, but, essentially, so far as art was concerned, the wrong thing.
Thus I began to acquire, without understanding the value of it, some conception of the elegant phases of early English watercolour painting, and there was one singular piece of a marble well brimming with water, and a greyish-blue sky over it, and dark-green poplars, shaped like wet brooms, menacing the middle distance, which Cotman himself had painted; and this seemed beautiful and curious to me in its dim, flat frame, when it was hoisted to a place on our drawing-room wall.
But still I had never seen a subject-picture, although my stepmother used to talk of the joys of the Royal Academy, and it was therefore with a considerable sense of excitement that Iwent, with my Father, to examine Mr. Holman Hunt's Finding of Christ in the Temple' which at this time was announced to be on public show at our neighbouring town. We paid our shillings and ascended with others to an upper room, bare of every disturbing object, in which a strong top-light raked the large and uncompromising picture. We looked at it for some time in silence, and then my Father pointed out to me various details, such as the phylacteries and the mitres, and the robes which distinguished the high priest.
Some of the other visitors, as I recollect, expressed astonishment and dislike of what they called the 'Preraphaelite' treatment, but we were not affected by that. Indeed, if anything, the exact, minute and hard execution of Mr. Hunt was in sympathy with the methods we ourselves were in the habit of using when we painted butterflies and seaweeds, placing perfectly pure pigments side by side, without any nonsense about chiaroscuro. This large, bright, comprehensive picture made a very deep impression upon me, not exactly as a work of art, but as a brilliant natural specimen. I was pleased to have seen it, as I was pleased to have seen the comet, and the whale which was brought to our front door on a truck. It was a prominent addition to my experience.
The slender expansions of my interest which were now budding hither and thither do not seem to have alarmed my Father at all.
