DORA. Our third and last virtue, I suppose?

L. Yes; on Violet's system of triplicities.

DORA. Well, we are prepared for anything now. What is it?

L. Cooking.

DORA. Cardinal, indeed! If only Beatrice were here with her seven handmaids, that she might see what a fine eighth we had found for her!

MARY. And the interpretation? What does 'cooking' mean?

L. It means the knowledge of Medea, and of Circe, and of Calypso, and of Helen, and of Rebekah, and of the Queen of Sheba. It means the knowledge of all herbs, and fruits, and balms, and spices; and of all that is healing and sweet in fields and groves, and savoury in meats; it means carefulness, and inventiveness, and watchfulness, and willingness, and readiness of appliance; it means the economy of your great-grandmothers, and the science of modern chemists; it means much tasting, and no wasting; it means English thoroughness, and French art, and Arabian hospitality; and it means, in fine, that you are to be perfectly and always 'ladies'—'loaf-givers;' and, as you are to see, imperatively that everybody has something pretty to put on,—so you are to see, yet more imperatively, that everybody has something nice to eat.

(Another pause, and long drawn breath.)

DORA (slowly recovering herself) to EGYPT. We had better have let him go to sleep, I think, after all!

L. You had better let the younger ones go to sleep now: for I haven't half done.

ISABEL (panic-struck). Oh! please, please! just one quarter of an hour.

L. No, Isabel; I cannot say what I've got to say, in a quarter of an hour; and it is too hard for you, besides:—you would be lying awake, and trying to make it out, half the night. That will never do.

ISABEL. Oh, please!

L. It would please me exceedingly, mousie: but there are times when we must both be displeased; more's the pity. Lily may stay for half an hour, if she likes.

LILY. I can't; because Isey never goes to sleep, if she is waiting for me to come.

ISABEL. Oh, yes, Lily; I'll go to sleep to-night, I will, indeed.

LILY. Yes, it's very likely, Isey, with those fine round eyes! (To L.) You'll tell me something of what you've been saying, to-morrow, won't you?

L. No, I won't, Lily. You must choose. It's only in Miss Edgeworth's novels that one can do right, and have one's cake and sugar afterwards, as well (not that I consider the dilemma, to-night, so grave).

(LILY, sighing, takes ISABEL's hand.)

Yes, Lily dear, it will be better, in the outcome of it, so, than if you were to hear all the talks that ever were talked, and all the stories that ever were told. Good night.

(The door leading to the condemned cells of the Dormitory closes on LILY, ISABEL, FLORRIE, and other diminutive and submissive victims.)

JESSIE (after a pause). Why, I thought you were so fond of Miss Edgeworth!

L. So I am; and so you ought all to be. I can read her over and over again, without ever tiring; there's no one whose every page is so full, and so delightful; no one who brings you into the company of pleasanter or wiser people; no one who tells you more truly how to do right. And it is very nice, in the midst of a wild world, to have the very ideal of poetical justice done always to one's hand:—to have everybody found out, who tells lies; and everybody decorated with a red riband, who doesn't; and to see the good Laura, who gave away her half sovereign, receiving a grand ovation from an entire dinner party disturbed for the purpose; and poor, dear, little Rosamond, who chooses purple jars instead of new shoes, left at last without either her shoes or her bottle. But it isn't life: and, in the way children might easily understand it, it isn't morals.

JESSIE. How do you mean we might understand it?

L. You might think Miss Edgeworth meant that the right was to be done mainly because one was always rewarded for doing it. It is an injustice to her to say that: her heroines always do right simply for its own sake, as they should; and her examples of conduct and motive are wholly admirable. But her representation of events is false and misleading. Her good characters never are brought into the deadly trial of goodness,—the doing right, and suffering for it, quite finally. And that is life, as God arranges it. 'Taking up one's cross' does not at all mean having ovations at dinner parties, and being put over everybody else's head.

DORA. But what does it mean then? That is just what we couldn't understand, when you were telling us about not sacrificing ourselves, yesterday.

L. My dear, it means simply that you are to go the road which you see to be the straight one; carrying whatever you find is given you to carry, as well and stoutly as you can; without making faces, or calling people to come and look at you. Above all, you are neither to load, nor unload, yourself; nor cut your cross to your own liking. Some people think it would be better for them to have it large; and many, that they could carry it much faster if it were small; and even those who like it largest are usually very particular about its being ornamental, and made of the best ebony. But all that you have really to do is to keep your back as straight as you can; and not think about what is upon it—above all, not to boast of what is upon it. The real and essential meaning of 'virtue' is in that straightness of back. Yes; you may laugh, children, but it is. You know I was to tell about the words that began with V. Sibyl, what does 'virtue' mean, literally?

SIBYL. Does it mean courage?

L. Yes; but a particular kind of courage. It means courage of the nerve; vital courage. That first syllable of it, if you look in Max Mueller, you will find really means 'nerve,' and from it come 'vis,' and 'vir,' and 'virgin' (through vireo), and the connected word 'virga'—'a rod;'—the green rod, or springing bough of a tree, being the type of perfect human strength, both in the use of it in the Mosaic story, when it becomes a serpent, or strikes the rock; or when Aaron's bears its almonds; and in the metaphorical expressions, the 'Rod out of the stem of Jesse,' and the 'Man whose name is the Branch,' and so on. And the essential idea of real virtue is that of a vital human strength, which instinctively, constantly, and without motive, does what is right. You must train men to this by habit, as you would the branch of a tree; and give them instincts and manners (or morals) of purity, justice, kindness, and courage. Once rightly trained, they act as they should, irrespectively of all motive, of fear, or of reward. It is the blackest sign of putrescence in a national religion, when men speak as if it were the only safeguard of conduct; and assume that, but for the fear of being burned, or for the hope of being rewarded, everybody would pass their lives in lying, stealing, and murdering. I think quite one of the notablest historical events of this century (perhaps the very notablest), was that council of clergymen, horror-struck at the idea of any diminution in our dread of hell, at which the last of English clergymen whom one would have expected to see in such a function, rose as the devil's advocate; to tell us how impossible it was we could get on without him.

VIOLET (after a pause). But, surely, if people weren't afraid—(hesitates again).

L. They should be afraid of doing wrong, and of that only, my dear. Otherwise, if they only don't do wrong for fear of being punished, they have done wrong in their hearts, already.

VIOLET. Well, but surely, at least one ought to be afraid of displeasing God; and one's desire to please Him should be one's first motive?

L. He never would be pleased with us, if it were, my dear. When a father sends his son out into the world—suppose as an apprentice—fancy the boy's coming home at night, and saying, 'Father, I could have robbed the till to-day; but I didn't, because I thought you wouldn't like it.' Do you think the father would be particularly pleased?

(VIOLET is silent.)

He would answer, would he not, if he were wise and good, 'My boy, though you had no father, you must not rob tills'? And nothing is ever done so as really to please our Great Father, unless we would also have done it, though we had had no Father to know of it.

VIOLET (after long pause). But, then, what continual threatenings, and promises of reward there are!

L. And how vain both! with the Jews, and with all of us. But the fact is, that the threat and promise are simply statements of the Divine law, and of its consequences. The fact is truly told you,—make what use you may of it: and as collateral warning, or encouragement, or comfort, the knowledge of future consequences may often be helpful to us; but helpful chiefly to the better state when we can act without reference to them. And there's no measuring the poisoned influence of that notion of future reward on the mind of Christian Europe, in the early ages. Half the monastic system rose out of that, acting on the occult pride and ambition of good people (as the other half of it came of their follies and misfortunes). There is always a considerable quantity of pride, to begin with, in what is called 'giving one's self to God.' As if one had ever belonged to anybody else!

DORA. But, surely, great good has come out of the monastic system—our books,—our sciences—all saved by the monks?

L. Saved from what, my dear? From the abyss of misery and ruin which that false Christianity allowed the whole active world to live in. When it had become the principal amusement, and the most admired art, of Christian men, to cut one another's throats, and burn one another's towns; of course the few feeble or reasonable persons left, who desired quiet, safety, and kind fellowship, got into cloisters; and the gentlest, thoughtfullest, noblest men and women shut themselves up, precisely where they could be of least use. They are very fine things, for us painters, now,—the towers and white arches upon the tops of the rocks; always in places where it takes a day's climbing to get at them; but the intense tragi-comedy of the thing, when one thinks of it, is unspeakable. All the good people of the world getting themselves hung up out of the way of mischief, like Bailie Nicol Jarvie;—poor little lambs, as it were, dangling there for the sign of the Golden Fleece; or like Socrates in his basket in the 'Clouds'! (I must read you that bit of Aristophanes again, by the way.) And believe me, children, I am no warped witness, as far as regards monasteries; or if I am, it is in their favour. I have always had a strong leaning that way; and have pensively shivered with Augustines at St. Bernard; and happily made hay with Franciscans at Fesole; and sat silent with Carthusians in their little gardens, south of Florence; and mourned through many a day-dream, at Melrose and Bolton. But the wonder is always to me, not how much, but how little, the monks have, on the whole, done, with all that leisure, and all that goodwill! What nonsense monks characteristically wrote;—what little progress they made in the sciences to which they devoted themselves as a duty,—medicine especially;—and, last and worst, what depths of degradation they can sometimes see one another, and the population round them, sink into; without either doubting their system, or reforming it!

(Seeing questions rising to lips.) Hold your little tongues, children; it's very late, and you'll make me forget what I've to say. Fancy yourselves in pews, for five minutes. There's one point of possible good in the conventual system, which is always attractive to young girls; and the idea is a very dangerous one;—the notion of a merit, or exalting virtue, consisting in a habit of meditation on the 'things above,' or things of the next world. Now it is quite true, that a person of beautiful mind, dwelling on whatever appears to them most desirable and lovely in a possible future will not only pass their time pleasantly, but will even acquire, at last, a vague and wildly gentle charm of manner and feature, which will give them an air of peculiar sanctity in the eyes of others. Whatever real or apparent good there may be in this result, I want you to observe, children, that we have no real authority for the reveries to which it is owing. We are told nothing distinctly of the heavenly world; except that it will be free from sorrow, and pure from sin. What is said of pearl gates, golden floors, and the like, is accepted as merely figurative by religious enthusiasts themselves; and whatever they pass their time in conceiving, whether of the happiness of risen souls, of their intercourse, or of the appearance and employment of the heavenly powers, is entirely the product of their own imagination; and as completely and distinctly a work of fiction, or romantic invention, as any novel of Sir Walter Scott's. That the romance is founded on religious theory or doctrine;—that no disagreeable or wicked persons are admitted into the story;—and that the inventor fervently hopes that some portion of it may hereafter come true, does not in the least alter the real nature of the effort or enjoyment.

Now, whatever indulgence may be granted to amiable people for pleasing themselves in this innocent way, it is beyond question, that to seclude themselves from the rough duties of life, merely to write religious romances, or, as in most cases, merely to dream them, without taking so much trouble as is implied in writing, ought not to be received as an act of heroic virtue. But, observe, even in admitting thus much, I have assumed that the fancies are just and beautiful, though fictitious. Now, what right have any of us to assume that our own fancies will assuredly be either the one or the other? That they delight us, and appear lovely to us, is no real proof of its not being wasted time to form them: and we may surely be led somewhat to distrust our judgment of them by observing what ignoble imaginations have sometimes sufficiently, or even enthusiastically, occupied the hearts of others. The principal source of the spirit of religious contemplation is the East; now I have here in my hand a Byzantine image of Christ, which, if you will look at it seriously, may, I think, at once and for ever render you cautious in the indulgence of a merely contemplative habit of mind. Observe, it is the fashion to look at such a thing only as a piece of barbarous art; that is the smallest part of its interest. What I want you to see, is the baseness and falseness of a religious state of enthusiasm, in which such a work could be dwelt upon with pious pleasure. That a figure, with two small round black beads for eyes; a gilded face, deep cut into horrible wrinkles; an open gash for a mouth, and a distorted skeleton for a body, wrapped about, to make it fine, with striped enamel of blue and gold;—that such a figure, I say, should ever have been thought helpful towards the conception of a Redeeming Deity, may make you, I think, very doubtful, even of the Divine approval,—much more of the Divine inspiration,—of religious reverie in general. You feel, doubtless, that your own idea of Christ would be something very different from this; but in what does the difference consist? Not in any more divine authority in your imagination; but in the intellectual work of six intervening centuries; which, simply, by artistic discipline, has refined this crude conception for you, and filled you, partly with an innate sensation, partly with an acquired knowledge, of higher forms,—which render this Byzantine crucifix as horrible to you, as it was pleasing to its maker. More is required to excite your fancy; but your fancy is of no more authority than his was: and a point of national art-skill is quite conceivable, in which the best we can do now will be as offensive to the religious dreamers of the more highly cultivated time, as this Byzantine crucifix is to you.

MARY. But surely, Angelico will always retain his power over everybody?

L. Yes, I should think, always; as the gentle words of a child will: but you would be much surprised, Mary, if you thoroughly took the pains to analyse, and had the perfect means of analysing, that power of Angelico,—to discover its real sources. Of course it is natural, at first, to attribute it to the pure religious fervour by which he was inspired; but do you suppose Angelico was really the only monk, in all the Christian world of the middle ages, who laboured, in art, with a sincere religious enthusiasm?

MARY. No, certainly not.

L. Anything more frightful, more destructive of all religious faith whatever, than such a supposition, could not be. And yet, what other monk ever produced such work? I have myself examined carefully upwards of two thousand illuminated missals, with especial view to the discovery of any evidence of a similar result upon the art, from the monkish devotion; and utterly in vain.

MARY. But then, was not Fra Angelico a man of entirely separate and exalted genius?

L. Unquestionably; and granting him to be that, the peculiar phenomenon in his art is, to me, not its loveliness, but its weakness. The effect of 'inspiration,' had it been real, on a man of consummate genius, should have been, one would have thought, to make everything that he did faultless and strong, no less than lovely. But of all men, deserving to be called 'great,' Fra Angelico permits to himself the least pardonable faults, and the most palpable follies. There is evidently within him a sense of grace, and power of invention, as great as Ghiberti's:—we are in the habit of attributing those high qualities to his religious enthusiasm; but, if they were produced by that enthusiasm in him, they ought to be produced by the same feelings in others; and we see they are not. Whereas, comparing him with contemporary great artists, of equal grace and invention, one peculiar character remains notable in him—which, logically, we ought therefore to attribute to the religious fervour;—and that distinctive character is, the contented indulgence of his own weaknesses, and perseverance in his own ignorances.

MARY. But that's dreadful! And what is the source of the peculiar charm which we all feel in his work?

L. There are many sources of it, Mary; united and seeming like one. You would never feel that charm but in the work of an entirely good man; be sure of that; but the goodness is only the recipient and modifying element, not the creative one. Consider carefully what delights you in any original picture of Angelico's. You will find, for one minor thing, an exquisite variety and brightness of ornamental work. That is not Angelico's inspiration. It is the final result of the labour and thought of millions of artists, of all nations; from the earliest Egyptian potters downwards—Greeks, Byzantines, Hindoos, Arabs, Gauls, and Northmen—all joining in the toil; and consummating it in Florence, in that century, with such embroidery of robe and inlaying of armour as had never been seen till then; nor, probably, ever will be seen more. Angelico merely takes his share of this inheritance, and applies it in the tenderest way to subjects which are peculiarly acceptant of it. But the inspiration, if it exist anywhere, flashes on the knight's shield quite as radiantly as on the monk's picture. Examining farther into the sources of your emotion in the Angelico work, you will find much of the impression of sanctity dependent on a singular repose and grace of gesture, consummating itself in the floating, flying, and above all, in the dancing groups. That is not Angelico's inspiration. It is only a peculiarly tender use of systems of grouping which had been long before developed by Giotto, Memmi, and Orcagna; and the real root of it all is simply—What do you think, children? The beautiful dancing of the Florentine maidens!

DORA (indignant again). Now, I wonder what next! Why not say it all depended on Herodias' daughter, at once?

L. Yes; it is certainly a great argument against singing, that there were once sirens.

DORA. Well, it may be all very fine and philosophical, but shouldn't I just like to read you the end of the second volume of 'Modern Painters'!

L. My dear, do you think any teacher could be worth your listening to, or anybody else's listening to, who had learned nothing, and altered his mind in nothing, from seven and twenty to seven and forty? But that second volume is very good for you as far as it goes. It is a great advance, and a thoroughly straight and swift one, to be led, as it is the main business of that second volume to lead you, from Dutch cattle pieces, and ruffian-pieces, to Fra Angelico. And it is right for you also, as you grow older, to be strengthened in the general sense and judgment which may enable you to distinguish the weaknesses from the virtues of what you love: else you might come to love both alike; or even the weaknesses without the virtues. You might end by liking Overbeck and Cornelius as well as Angelico. However, I have perhaps been leaning a little too much to the merely practical side of things, in to-night's talk; and you are always to remember, children, that I do not deny, though I cannot affirm, the spiritual advantages resulting, in certain cases, from enthusiastic religious reverie, and from the other practices of saints and anchorites. The evidence respecting them has never yet been honestly collected, much less dispassionately examined: but assuredly, there is in that direction a probability, and more than a probability, of dangerous error, while there is none whatever in the practice of an active, cheerful, and benevolent life. The hope of attaining a higher religious position, which induces us to encounter, for its exalted alternative, the risk of unhealthy error, is often, as I said, founded more on pride than piety; and those who, in modest usefulness, have accepted what seemed to them here the lowliest place in the kingdom of their Father, are not, I believe, the least likely to receive hereafter the command, then unmistakable, 'Friend, go up higher.'



LECTURE VIII.

CRYSTAL CAPRICE.

Formal Lecture in Schoolroom, after some practical examination of minerals.

L. We have seen enough, children, though very little of what might be seen if we had more time, of mineral structures produced by visible opposition, or contest among elements; structures of which the variety, however great, need not surprise us: for we quarrel, ourselves, for many and slight causes;—much more, one should think, may crystals, who can only feel the antagonism, not argue about it. But there is a yet more singular mimicry of our human ways in the varieties of form which appear owing to no antagonistic force; but merely to the variable humour and caprice of the crystals themselves: and I have asked you all to come into the schoolroom to-day, because, of course, this is a part of the crystal mind which must be peculiarly interesting to a feminine audience. (Great symptoms of disapproval on the part of said audience.) Now, you need not pretend that it will not interest you; why should it not? It is true that we men are never capricious; but that only makes us the more dull and disagreeable. You, who are crystalline in brightness, as well as in caprice, charm infinitely, by infinitude of change. (Audible murmurs of 'Worse and worse!' 'As if we could be got over that way!' &c. The LECTURER, however, observing the expression of the features to be more complacent, proceeds.) And the most curious mimicry, if not of your changes of fashion, at least of your various modes (in healthy periods) of national costume, takes place among the crystals of different countries. With a little experience, it is quite possible to say at a glance, in what districts certain crystals have been found; and although, if we had knowledge extended and accurate enough, we might of course ascertain the laws and circumstances which have necessarily produced the form peculiar to each locality, this would be just as true of the fancies of the human mind. If we could know the exact circumstances which affect it, we could foretell what now seems to us only caprice of thought, as well as what now seems to us only caprice of crystal: nay, so far as our knowledge reaches, it is on the whole easier to find some reason why the peasant girls of Berne should wear their caps in the shape of butterflies; and the peasant girls of Munich their's in the shape of shells, than to say why the rock-crystals of Dauphine should all have their summits of the shape of lip-pieces of flageolets, while those of St. Gothard are symmetrical; or why the fluor of Chamouni is rose-coloured, and in octahedrons, while the fluor of Weardale is green, and in cubes. Still farther removed is the hope, at present, of accounting for minor differences in modes of grouping and construction. Take, for instance, the caprices of this single mineral, quartz;—variations upon a single theme. It has many forms; but see what it will make out of this one, the six-sided prism. For shortness' sake, I shall call the body of the prism its 'column,' and the pyramid at the extremities its 'cap.' Now, here, first you have a straight column, as long and thin as a stalk of asparagus, with two little caps at the ends; and here you have a short thick column, as solid as a haystack, with two fat caps at the ends; and here you have two caps fastened together, and no column at all between them! Then here is a crystal with its column fat in the middle, and tapering to a little cap; and here is one stalked like a mushroom, with a huge cap put on the top of a slender column! Then here is a column built wholly out of little caps, with a large smooth cap at the top. And here is a column built of columns and caps; the caps all truncated about half way to their points. And in both these last, the little crystals are set anyhow, and build the large one in a disorderly way; but here is a crystal made of columns and truncated caps, set in regular terraces all the way up.

MARY. But are not these, groups of crystals, rather than one crystal?

L. What do you mean by a group, and what by one crystal?

DORA (audibly aside, to MARY, who is brought to pause). You know you are never expected to answer, Mary.

L. I'm sure this is easy enough. What do you mean by a group of people?

MARY. Three or four together, or a good many together, like the caps in these crystals.

L. But when a great many persons get together they don't take the shape of one person?

(MARY still at pause.)

ISABEL. No, because they can't; but, you know the crystals can; so why shouldn't they?

L. Well, they don't; that is to say, they don't always, nor even often. Look here, Isabel.

ISABEL. What a nasty ugly thing!

L. I'm glad you think it so ugly. Yet it is made of beautiful crystals; they are a little grey and cold in colour, but most of them are clear.

ISABEL. But they're in such horrid, horrid disorder!

L. Yes; all disorder is horrid, when it is among things that are naturally orderly. Some little girl's rooms are naturally disorderly, I suppose; or I don't know how they could live in them, if they cry out so when they only see quartz crystals in confusion.

ISABEL. Oh! but how come they to be like that?

L. You may well ask. And yet you will always hear people talking as if they thought order more wonderful than disorder! It is wonderful—as we have seen; but to me, as to you, child, the supremely wonderful thing is that nature should ever be ruinous or wasteful, or deathful! I look at this wild piece of crystallisation with endless astonishment.

MARY. Where does it come from?

L. The Tete Noire of Chamonix. What makes it more strange is that it should be in a vein of fine quartz rock. If it were in a mouldering rock, it would be natural enough; but in the midst of so fine substance, here are the crystals tossed in a heap; some large, myriads small (almost as small as dust), tumbling over each other like a terrified crowd, and glued together by the sides, and edges, and backs, and heads; some warped, and some pushed out and in, and all spoiled and each spoiling the rest.

MARY. And how flat they all are!

L. Yes; that's the fashion at the Tete Noire.

MARY. But surely this is ruin, not caprice?

L. I believe it is in great part misfortune; and we will examine these crystal troubles in next lecture. But if you want to see the gracefullest and happiest caprices of which dust is capable, you must go to the Hartz; not that I ever mean to go there myself, for I want to retain the romantic feeling about the name; and I have done myself some harm already by seeing the monotonous and heavy form of the Brocken from the suburbs of Brunswick. But whether the mountains be picturesque or not, the tricks which the goblins (as I am told) teach the crystals in them, are incomparably pretty. They work chiefly on the mind of a docile, bluish coloured, carbonate of lime; which comes out of a grey limestone. The goblins take the greatest possible care of its education, and see that nothing happens to it to hurt its temper; and when it may be supposed to have arrived at the crisis which is, to a well brought up mineral, what presentation at court is to a young lady—after which it is expected to set fashions—there's no end to its pretty ways of behaving. First it will make itself into pointed darts as fine as hoar-frost; here, it is changed into a white fur as fine as silk; here into little crowns and circlets, as bright as silver; as if for the gnome princesses to wear; here it is in beautiful little plates, for them to eat off; presently it is in towers which they might be imprisoned in; presently in caves and cells, where they may make nun-gnomes of themselves, and no gnome ever hear of them more; here is some of it in sheaves, like corn; here, some in drifts, like snow; here, some in rays, like stars: and, though these are, all of them, necessarily, shapes that the mineral takes in other places, they are all taken here with such a grace that you recognise the high caste and breeding of the crystals wherever you meet them; and know at once they are Hartz-born.

Of course, such fine things as these are only done by crystals which are perfectly good, and good-humoured; and of course, also, there are ill-humoured crystals who torment each other, and annoy quieter crystals, yet without coming to anything like serious war. Here (for once) is some ill-disposed quartz, tormenting a peaceable octahedron of fluor, in mere caprice. I looked at it the other night so long, and so wonderingly, just before putting my candle out, that I fell into another strange dream. But you don't care about dreams.

DORA. No; we didn't, yesterday; but you know we are made up of caprice; so we do, to-day: and you must tell it us directly.

L. Well, you see, Neith and her work were still much in my mind; and then, I had been looking over these Hartz things for you, and thinking of the sort of grotesque sympathy there seemed to be in them with the beautiful fringe and pinnacle work of Northern architecture. So, when I fell asleep, I thought I saw Neith and St. Barbara talking together.

DORA. But what had St. Barbara to do with it?[152]

L. My dear, I am quite sure St. Barbara is the patroness of good architects: not St. Thomas, whatever the old builders thought. It might be very fine, according to the monks' notions, in St. Thomas, to give all his employer's money away to the poor: but breaches of contract are bad foundations; and I believe, it was not he, but St. Barbara, who overlooked the work in all the buildings you and I care about. However that may be, it was certainly she whom I saw in my dream with Neith. Neith was sitting weaving, and I thought she looked sad, and threw her shuttle slowly; and St. Barbara was standing at her side, in a stiff little gown, all ins and outs, and angles; but so bright with embroidery that it dazzled me whenever she moved; the train of it was just like a heap of broken jewels, it was so stiff, and full of corners, and so many-coloured, and bright. Her hair fell over her shoulders in long, delicate waves, from under a little three pinnacled crown, like a tower. She was asking Neith about the laws of architecture in Egypt and Greece; and when Neith told her the measures of the pyramids, St. Barbara said she thought they would have been better three-cornered: and when Neith told her the measures of the Parthenon, St. Barbara said she thought it ought to have had two transepts. But she was pleased when Neith told her of the temple of the dew, and of the Caryan maidens bearing its frieze: and then she thought that perhaps Neith would like to hear what sort of temples she was building herself, in the French valleys, and on the crags of the Rhine. So she began gossiping, just as one of you might to an old lady: and certainly she talked in the sweetest way in the world to Neith; and explained to her all about crockets and pinnacles: and Neith sat, looking very grave; and always graver as St. Barbara went on; till at last, I'm sorry to say, St. Barbara lost her temper a little.

MAY (very grave herself). 'St. Barbara?'

L. Yes, May. Why shouldn't she? It was very tiresome of Neith to sit looking like that.

MAY. But, then, St. Barbara was a saint!

L. What's that, May?

MAY. A saint! A saint is—I am sure you know!

L. If I did, it would not make me sure that you knew too, May: but I don't.

VIOLET (expressing the incredulity of the audience). Oh,—sir!

L. That is to say, I know that people are called saints who are supposed to be better than others: but I don't know how much better they must be, in order to be saints; nor how nearly anybody may be a saint, and yet not be quite one; nor whether everybody who is called a saint was one; nor whether everybody who isn't called a saint, isn't one.

(General silence; the audience feeling themselves on the verge of the Infinities—and a little shocked—and much puzzled by so many questions at once.)

L. Besides, did you never hear that verse about being 'called to be saints'?

MAY (repeats Rom. i. 7.)

L. Quite right, May. Well, then, who are called to be that? People in Rome only?

MAY. Everybody, I suppose, whom God loves.

L. What! little girls as well as other people?

MAY. All grown-up people, I mean.

L. Why not little girls? Are they wickeder when they are little?

MAY. Oh, I hope not.

L. Why not little girls, then?

(Pause.)

LILY. Because, you know, we can't be worth anything if we're ever so good;—I mean, if we try to be ever so good; and we can't do difficult things—like saints.

L. I am afraid, my dear, that old people are not more able or willing for their difficulties than you children are for yours. All I can say is, that if ever I see any of you, when you are seven or eight and twenty, knitting your brows over any work you want to do or to understand, as I saw you, Lily, knitting your brows over your slate this morning, I should think you very noble women. But—to come back to my dream—St. Barbara did lose her temper a little; and I was not surprised. For you can't think how provoking Neith looked, sitting there just like a statue of sandstone; only going on weaving, like a machine; and never quickening the cast of her shuttle; while St. Barbara was telling her so eagerly all about the most beautiful things, and chattering away, as fast as bells ring on Christmas Eve, till she saw that Neith didn't care; and then St. Barbara got as red as a rose, and stopped, just in time;—or I think she would really have said something naughty.

ISABEL. Oh, please, but didn't Neith say anything then?

L. Yes. She said, quite quietly, 'It may be very pretty, my love; but it is all nonsense.'

ISABEL. Oh dear, oh dear; and then?

L. Well; then I was a little angry myself, and hoped St. Barbara would be quite angry; but she wasn't. She bit her lips first; and then gave a great sigh—such a wild, sweet sigh—and then she knelt down and hid her face on Neith's knees. Then Neith smiled a little, and was moved.

ISABEL. Oh, I am so glad!

L. And she touched St. Barbara's forehead with a flower of white lotus; and St. Barbara sobbed once or twice, and then said: 'If you only could see how beautiful it is, and how much it makes people feel what is good and lovely; and if you could only hear the children singing in the Lady chapels!' And Neith smiled,—but still sadly,—and said, 'How do you know what I have seen, or heard, my love? Do you think all those vaults and towers of yours have been built without me? There was not a pillar in your Giotto's Santa Maria del Fiore which I did not set true by my spearshaft as it rose. But this pinnacle and flame work which has set your little heart on fire, is all vanity; and you will see what it will come to, and that soon; and none will grieve for it more than I. And then every one will disbelieve your pretty symbols and types. Men must be spoken simply to, my dear, if you would guide them kindly, and long.' But St. Barbara answered, that, 'Indeed she thought every one liked her work,' and that 'the people of different towns were as eager about their cathedral towers as about their privileges or their markets;' and then she asked Neith to come and build something with her, wall against tower; and 'see whether the people will be as much pleased with your building as with mine.' But Neith answered, 'I will not contend with you, my dear. I strive not with those who love me; and for those who hate me, it is not well to strive with me, as weaver Arachne knows. And remember, child, that nothing is ever done beautifully, which is done in rivalship; nor nobly, which is done in pride.'

Then St. Barbara hung her head quite down, and said she was very sorry she had been so foolish; and kissed Neith; and stood thinking a minute: and then her eyes got bright again, and she said, she would go directly and build a chapel with five windows in it; four for the four cardinal virtues, and one for humility, in the middle, bigger than the rest. And Neith very nearly laughed quite out, I thought; certainly her beautiful lips lost all their sternness for an instant; then she said, 'Well, love, build it, but do not put so many colours into your windows as you usually do; else no one will be able to see to read, inside: and when it is built, let a poor village priest consecrate it, and not an archbishop.' St. Barbara started a little, I thought, and turned as if to say something; but changed her mind, and gathered up her train, and went out. And Neith bent herself again to her loom, in which she was weaving a web of strange dark colours, I thought; but perhaps it was only after the glittering of St. Barbara's embroidered train: and I tried to make out the figures in Neith's web, and confused myself among them, as one always does in dreams; and then the dream changed altogether, and I found myself, all at once, among a crowd of little Gothic and Egyptian spirits, who were quarrelling: at least the Gothic ones were trying to quarrel; for the Egyptian ones only sat with their hands on their knees, and their aprons sticking out very stiffly; and stared. And after a while I began to understand what the matter was. It seemed that some of the troublesome building imps, who meddle and make continually, even in the best Gothic work, had been listening to St. Barbara's talk with Neith; and had made up their minds that Neith had no workpeople who could build against them. They were but dull imps, as you may fancy by their thinking that; and never had done much, except disturbing the great Gothic building angels at their work, and playing tricks to each other; indeed, of late they had been living years and years, like bats, up under the cornices of Strasbourg and Cologne cathedrals, with nothing to do but to make mouths at the people below. However, they thought they knew everything about tower building; and those who had heard what Neith said, told the rest; and they all flew down directly, chattering in German, like jackdaws, to show Neith's people what they could do. And they had found some of Neith's old workpeople somewhere near Sais, sitting in the sun, with their hands on their knees; and abused them heartily: and Neith's people did not mind at first, but, after a while, they seemed to get tired of the noise; and one or two rose up slowly, and laid hold of their measuring rods, and said, 'If St. Barbara's people liked to build with them, tower against pyramid, they would show them how to lay stones.' Then the little Gothic spirits threw a great many double somersaults for joy; and put the tips of their tongues out slily to each other, on one side; and I heard the Egyptians say, 'they must be some new kind of frog—they didn't think there was much building in them.' However, the stiff old workers took their rods, as I said, and measured out a square space of sand; but as soon as the German spirits saw that, they declared they wanted exactly that bit of ground to build on, themselves. Then the Egyptian builders offered to go farther off, and the Germans ones said, 'Ja wohl.' But as soon as the Egyptians had measured out another square, the little Germans said they must have some of that too. Then Neith's people laughed; and said, 'they might take as much as they liked, but they would not move the plan of their pyramid again.' Then the little Germans took three pieces, and began to build three spires directly; one large, and two little. And when the Egyptians saw they had fairly begun, they laid their foundation all round, of large square stones: and began to build, so steadily that they had like to have swallowed up the three little German spires. So when the Gothic spirits saw that, they built their spires leaning, like the tower of Pisa, that they might stick out at the side of the pyramid. And Neith's people stared at them; and thought it very clever, but very wrong; and on they went, in their own way, and said nothing. Then the little Gothic spirits were terribly provoked because they could not spoil the shape of the pyramid; and they sat down all along the ledges of it to make faces; but that did no good. Then they ran to the corners, and put their elbows on their knees, and stuck themselves out as far as they could, and made more faces; but that did no good, neither. Then they looked up to the sky, and opened their mouths wide, and gobbled, and said it was too hot for work, and wondered when it would rain; but that did no good, neither. And all the while the Egyptian spirits were laying step above step, patiently. But when the Gothic ones looked, and saw how high they had got, they said, 'Ach, Himmel!' and flew down in a great black cluster to the bottom; and swept out a level spot in the sand with their wings, in no time, and began building a tower straight up, as fast as they could. And the Egyptians stood still again to stare at them; for the Gothic spirits had got quite into a passion, and were really working very wonderfully. They cut the sandstone into strips as fine as reeds; and put one reed on the top of another, so that you could not see where they fitted: and they twisted them in and out like basket work, and knotted them into likenesses of ugly faces, and of strange beasts biting each other; and up they went, and up still, and they made spiral staircases at the corners, for the loaded workers to come up by (for I saw they were but weak imps, and could not fly with stones on their backs), and then they made traceried galleries for them to run round by; and so up again; with finer and finer work, till the Egyptians wondered whether they meant the thing for a tower or a pillar: and I heard them saying to one another, 'It was nearly as pretty as lotus stalks; and if it were not for the ugly faces, there would be a fine temple, if they were going to build it all with pillars as big as that!' But in a minute afterwards,—just as the Gothic spirits had carried their work as high as the upper course, but three or four, of the pyramid—the Egyptians called out to them to 'mind what they were about, for the sand was running away from under one of their tower corners.' But it was too late to mind what they were about; for, in another instant, the whole tower sloped aside; and the Gothic imps rose out of it like a flight of puffins, in a single cloud; but screaming worse than any puffins you ever heard: and down came the tower, all in a piece, like a falling poplar, with its head right on the flank of the pyramid; against which it snapped short off. And of course that waked me!

MARY. What a shame of you to have such a dream, after all you have told us about Gothic architecture!

L. If you have understood anything I ever told you about it, you know that no architecture was ever corrupted more miserably; or abolished more justly by the accomplishment of its own follies. Besides, even in its days of power, it was subject to catastrophes of this kind. I have stood too often, mourning, by the grand fragment of the apse of Beauvais, not to have that fact well burnt into me. Still, you must have seen, surely, that these imps were of the Flamboyant school; or, at least, of the German schools correspondent with it in extravagance.

MARY. But, then, where is the crystal about which you dreamed all this?

L. Here; but I suppose little Pthah has touched it again, for it is very small. But, you see, here is the pyramid, built of great square stones of fluor spar, straight up; and here are the three little pinnacles of mischievous quartz, which have set themselves, at the same time, on the same foundation; only they lean like the tower of Pisa, and come out obliquely at the side: and here is one great spire of quartz which seems as if it had been meant to stand straight up, a little way off; and then had fallen down against the pyramid base, breaking its pinnacle away. In reality, it has crystallised horizontally, and terminated imperfectly: but, then, by what caprice does one crystal form horizontally, when all the rest stand upright? But this is nothing to the phantasies of fluor, and quartz, and some other such companions, when they get leave to do anything they like. I could show you fifty specimens, about every one of which you might fancy a new fairy tale. Not that, in truth, any crystals get leave to do quite what they like; and many of them are sadly tried, and have little time for caprices—poor things!

MARY. I thought they always looked as if they were either in play or in mischief! What trials have they?

L. Trials much like our own. Sickness, and starvation; fevers, and agues, and palsy; oppression; and old age, and the necessity of passing away in their time, like all else. If there's any pity in you, you must come to-morrow, and take some part in these crystal griefs.

DORA. I am sure we shall cry till our eyes are red.

L. Ah, you may laugh, Dora: but I've been made grave, not once, nor twice, to see that even crystals 'cannot choose but be old' at last. It may be but a shallow proverb of the Justice's; but it is a shrewdly wide one.

DORA (pensive, for once). I suppose it is very dreadful to be old! But then (brightening again), what should we do without our dear old friends, and our nice old lecturers?

L. If all nice old lecturers were minded as little as one I know of——

DORA. And if they all meant as little what they say, would they not deserve it? But we'll come—we'll come, and cry.

FOOTNOTES:

[152] Note v.



LECTURE IX.

CRYSTAL SORROWS.

Working Lecture in Schoolroom.

L. We have been hitherto talking, children, as if crystals might live, and play, and quarrel, and behave ill or well, according to their characters, without interruption from anything else. But so far from this being so, nearly all crystals, whatever their characters, have to live a hard life of it, and meet with many misfortunes. If we could see far enough, we should find, indeed, that, at the root, all their vices were misfortunes: but to-day I want you to see what sort of troubles the best crystals have to go through, occasionally, by no fault of their own.

This black thing, which is one of the prettiest of the very few pretty black things in the world, is called 'Tourmaline.' It may be transparent, and green, or red, as well as black; and then no stone can be prettier (only, all the light that gets into it, I believe, comes out a good deal the worse; and is not itself again for a long while). But this is the commonest state of it,—opaque, and as black as jet.

MARY. What does 'Tourmaline' mean?

L. They say it is Ceylanese, and I don't know Ceylanese; but we may always be thankful for a graceful word, whatever it means.

MARY. And what is it made of?

L. A little of everything; there's always flint, and clay, and magnesia in it; and the black is iron, according to its fancy; and there's boracic acid, if you know what that is; and if you don't, I cannot tell you to-day; and it doesn't signify; and there's potash, and soda; and, on the whole, the chemistry of it is more like a mediaeval doctor's prescription, than the making of a respectable mineral: but it may, perhaps, be owing to the strange complexity of its make, that it has a notable habit which makes it, to me, one of the most interesting of minerals. You see these two crystals are broken right across, in many places, just as if they had been shafts of black marble fallen from a ruinous temple; and here they lie, imbedded in white quartz, fragment succeeding fragment, keeping the line of the original crystal, while the quartz fills up the intervening spaces. Now tourmaline has a trick of doing this, more than any other mineral I know: here is another bit which I picked up on the glacier of Macugnaga; it is broken, like a pillar built of very flat broad stones, into about thirty joints, and all these are heaved and warped away from each other sideways, almost into a line of steps; and then all is filled up with quartz paste. And here, lastly, is a green Indian piece, in which the pillar is first disjointed, and then wrung round into the shape of an S.

MARY. How can this have been done?

L. There are a thousand ways in which it may have been done; the difficulty is not to account for the doing of it; but for the showing of it in some crystals, and not in others. You never by any chance get a quartz crystal broken or twisted in this way. If it break or twist at all, which it does sometimes, like the spire of Dijon, it is by its own will or fault; it never seems to have been passively crushed. But, for the forces which cause this passive ruin of the tourmaline,—here is a stone which will show you multitudes of them in operation at once. It is known as 'brecciated agate,' beautiful, as you see; and highly valued as a pebble: yet, so far as I can read or hear, no one has ever looked at it with the least attention. At the first glance, you see it is made of very fine red striped agates, which have been broken into small pieces, and fastened together again by paste, also of agate. There would be nothing wonderful in this, if this were all. It is well known that by the movements of strata, portions of rock are often shattered to pieces:—well known also that agate is a deposit of flint by water under certain conditions of heat and pressure: there is, therefore, nothing wonderful in an agate's being broken; and nothing wonderful in its being mended with the solution out of which it was itself originally congealed. And with this explanation, most people, looking at a brecciated agate, or brecciated anything, seem to be satisfied. I was so myself, for twenty years; but, lately happening to stay for some time at the Swiss Baden, where the beach of the Limmat is almost wholly composed of brecciated limestones, I began to examine them thoughtfully; and perceived, in the end, that they were, one and all, knots of as rich mystery as any poor little human brain was ever lost in. That piece of agate in your hand, Mary, will show you many of the common phenomena of breccias; but you need not knit your brows over it in that way; depend upon it, neither you nor I shall ever know anything about the way it was made, as long as we live.

DORA. That does not seem much to depend upon.

L. Pardon me, puss. When once we gain some real notion of the extent and the unconquerableness of our ignorance, it is a very broad and restful thing to depend upon: you can throw yourself upon it at ease, as on a cloud, to feast with the gods. You do not thenceforward trouble yourself,—nor any one else,—with theories, or the contradiction of theories; you neither get headache nor heartburning; and you never more waste your poor little store of strength, or allowance of time.

However, there are certain facts, about this agate-making, which I can tell you; and then you may look at it in a pleasant wonder as long as you like; pleasant wonder is no loss of time.

First, then, it is not broken freely by a blow; it is slowly wrung, or ground, to pieces. You can only with extreme dimness conceive the force exerted on mountains in transitional states of movement. You have all read a little geology; and you know how coolly geologists talk of mountains being raised or depressed. They talk coolly of it, because they are accustomed to the fact; but the very universality of the fact prevents us from ever conceiving distinctly the conditions of force involved. You know I was living last year in Savoy; my house was on the back of a sloping mountain which rose gradually for two miles, behind it; and then fell at once in a great precipice towards Geneva, going down three thousand feet in four or five cliffs, or steps. Now that whole group of cliffs had simply been torn away by sheer strength from the rocks below, as if the whole mass had been as soft as biscuit. Put four or five captains' biscuits on the floor, on the top of one another; and try to break them all in half, not by bending, but by holding one half down, and tearing the other halves straight up;—of course you will not be able to do it, but you will feel and comprehend the sort of force needed. Then, fancy each captains' biscuit a bed of rock, six or seven hundred feet thick; and the whole mass torn straight through; and one half heaved up three thousand feet, grinding against the other as it rose,—and you will have some idea of the making of the Mont Saleve.

MAY. But it must crush the rocks all to dust!

L. No; for there is no room for dust. The pressure is too great; probably the heat developed also so great that the rock is made partly ductile; but the worst of it is, that we never can see these parts of mountains in the state they were left in at the time of their elevation; for it is precisely in these rents and dislocations that the crystalline power principally exerts itself. It is essentially a styptic power, and wherever the earth is torn, it heals and binds; nay, the torture and grieving of the earth seem necessary to bring out its full energy; for you only find the crystalline living power fully in action, where the rents and faults are deep and many.

DORA. If you please, sir,—would you tell us—what are 'faults'?

L. You never heard of such things?

DORA. Never in all our lives.

L. When a vein of rock which is going on smoothly, is interrupted by another troublesome little vein, which stops it, and puts it out, so that it has to begin again in another place—that is called a fault. I always think it ought to be called the fault of the vein that interrupts it; but the miners always call it the fault of the vein that is interrupted.

DORA. So it is, if it does not begin again where it left off.

L. Well, that is certainly the gist of the business: but, whatever good-natured old lecturers may do, the rocks have a bad habit, when they are once interrupted, of never asking 'Where was I?'

DORA. When the two halves of the dining table came separate, yesterday, was that a 'fault'?

L. Yes; but not the table's. However, it is not a bad illustration, Dora. When beds of rock are only interrupted by a fissure, but remain at the same level, like the two halves of the table, it is not called a fault, but only a fissure; but if one half of the table be either tilted higher than the other, or pushed to the side, so that the two parts will not fit, it is a fault. You had better read the chapter on faults in Jukes's Geology; then you will know all about it. And this rent that I am telling you of in the Saleve, is one only of myriads, to which are owing the forms of the Alps, as, I believe, of all great mountain chains. Wherever you see a precipice on any scale of real magnificence, you will nearly always find it owing to some dislocation of this kind; but the point of chief wonder to me, is the delicacy of the touch by which these gigantic rents have been apparently accomplished. Note, however, that we have no clear evidence, hitherto, of the time taken to produce any of them. We know that a change of temperature alters the position and the angles of the atoms of crystals, and also the entire bulk of rocks. We know that in all volcanic, and the greater part of all subterranean, action, temperatures are continually changing, and therefore masses of rock must be expanding or contracting, with infinite slowness, but with infinite force. This pressure must result in mechanical strain somewhere, both in their own substance, and in that of the rocks surrounding them; and we can form no conception of the result of irresistible pressure, applied so as to rend and raise, with imperceptible slowness of gradation, masses thousands of feet in thickness. We want some experiments tried on masses of iron and stone; and we can't get them tried, because Christian creatures never will seriously and sufficiently spend money, except to find out the shortest ways of killing each other. But, besides this slow kind of pressure, there is evidence of more or less sudden violence, on the same terrific scale; and, through it all, the wonder, as I said, is always to me the delicacy of touch. I cut a block of the Saleve limestone from the edge of one of the principal faults which have formed the precipice; it is a lovely compact limestone, and the fault itself is filled up with a red breccia formed of the crushed fragments of the torn rock, cemented by a rich red crystalline paste. I have had the piece I cut from it smoothed, and polished across the junction; here it is; and you may now pass your soft little fingers over the surface, without so much as feeling the place where a rock which all the hills of England might have been sunk in the body of, and not a summit seen, was torn asunder through that whole thickness, as a thin dress is torn when you tread upon it.

(The audience examine the stone, and touch it timidly; but the matter remains inconceivable to them.)

MARY (struck by the beauty of the stone). But this is almost marble?

L. It is quite marble. And another singular point in the business, to my mind, is that these stones, which men have been cutting into slabs, for thousands of years, to ornament their principal buildings with,—and which, under the general name of 'marble,' have been the delight of the eyes, and the wealth of architecture, among all civilised nations,—are precisely those on which the signs and brands of these earth agonies have been chiefly struck; and there is not a purple vein nor flaming zone in them, which is not the record of their ancient torture. What a boundless capacity for sleep, and for serene stupidity, there is in the human mind! Fancy reflective beings, who cut and polish stones for three thousand years, for the sake of the pretty stains upon them; and educate themselves to an art at last (such as it is), of imitating these veins by dexterous painting; and never a curious soul of them, all that while, asks, 'What painted the rocks?'

(The audience look dejected, and ashamed of themselves.)

The fact is, we are all, and always, asleep, through our lives; and it is only by pinching ourselves very hard that we ever come to see, or understand, anything. At least, it is not always we who pinch ourselves; sometimes other people pinch us; which I suppose is very good of them,—or other things, which I suppose is very proper of them. But it is a sad life; made up chiefly of naps and pinches.

(Some of the audience, on this, appearing to think that the others require pinching, the LECTURER changes the subject.)

Now, however, for once, look at a piece of marble carefully, and think about it. You see this is one side of the fault; the other side is down or up, nobody knows where; but, on this side, you can trace the evidence of the dragging and tearing action. All along the edge of this marble, the ends of the fibres of the rock are torn, here an inch, and there half an inch, away from each other; and you see the exact places where they fitted, before they were torn separate; and you see the rents are now all filled up with the sanguine paste, full of the broken pieces of the rock; the paste itself seems to have been half melted, and partly to have also melted the edge of the fragments it contains, and then to have crystallised with them, and round them. And the brecciated agate I first showed you contains exactly the same phenomena; a zoned crystallisation going on amidst the cemented fragments, partly altering the structure of those fragments themselves, and subject to continual change, either in the intensity of its own power, or in the nature of the materials submitted to it;—so that, at one time, gravity acts upon them, and disposes them in horizontal layers, or causes them to droop in stalactites; and at another, gravity is entirely defied, and the substances in solution are crystallised in bands of equal thickness on every side of the cell. It would require a course of lectures longer than these (I have a great mind,—you have behaved so saucily—to stay and give them) to describe to you the phenomena of this kind, in agates and chalcedonies only;—nay, there is a single sarcophagus in the British Museum, covered with grand sculpture of the 18th dynasty, which contains in the magnificent breccia (agates and jaspers imbedded in porphyry), out of which it is hewn, material for the thought of years; and record of the earth-sorrow of ages in comparison with the duration of which, the Egyptian letters tell us but the history of the evening and morning of a day.

Agates, I think, of all stones, confess most of their past history; but all crystallisation goes on under, and partly records, circumstances of this kind—circumstances of infinite variety, but always involving difficulty, interruption, and change of condition at different times. Observe, first, you have the whole mass of the rock in motion, either contracting itself, and so gradually widening the cracks; or being compressed, and thereby closing them, and crushing their edges;—and, if one part of its substance be softer, at the given temperature, than another, probably squeezing that softer substance out into the veins. Then the veins themselves, when the rock leaves them open by its contraction, act with various power of suction upon its substance;—by capillary attraction when they are fine,—by that of pure vacuity when they are larger, or by changes in the constitution and condensation of the mixed gases with which they have been originally filled. Those gases themselves may be supplied in all variation of volume and power from below; or, slowly, by the decomposition of the rocks themselves; and, at changing temperatures, must exert relatively changing forces of decomposition and combination on the walls of the veins they fill; while water, at every degree of heat and pressure (from beds of everlasting ice, alternate with cliffs of native rock, to volumes of red hot, or white hot, steam), congeals, and drips, and throbs, and thrills, from crag to crag; and breathes from pulse to pulse of foaming or fiery arteries, whose beating is felt through chains of the great islands of the Indian seas, as your own pulses lift your bracelets, and makes whole kingdoms of the world quiver in deadly earthquake, as if they were light as aspen leaves. And, remember, the poor little crystals have to live their lives, and mind their own affairs, in the midst of all this, as best they may. They are wonderfully like human creatures,—forget all that is going on if they don't see it, however dreadful; and never think what is to happen to-morrow. They are spiteful or loving, and indolent or painstaking, and orderly or licentious, with no thought whatever of the lava or the flood which may break over them any day; and evaporate them into air-bubbles, or wash them into a solution of salts. And you may look at them, once understanding the surrounding conditions of their fate, with an endless interest. You will see crowds of unfortunate little crystals, who have been forced to constitute themselves in a hurry, their dissolving element being fiercely scorched away; you will see them doing their best, bright and numberless, but tiny. Then you will find indulged crystals, who have had centuries to form themselves in, and have changed their mind and ways continually; and have been tired, and taken heart again; and have been sick, and got well again; and thought they would try a different diet, and then thought better of it; and made but a poor use of their advantages, after all. And others you will see, who have begun life as wicked crystals; and then have been impressed by alarming circumstances, and have become converted crystals, and behaved amazingly for a little while, and fallen away again, and ended, but discreditably, perhaps even in decomposition; so that one doesn't know what will become of them. And sometimes you will see deceitful crystals, that look as soft as velvet, and are deadly to all near them; and sometimes you will see deceitful crystals, that seem flint-edged, like our little quartz-crystal of a housekeeper here, (hush! Dora,) and are endlessly gentle and true wherever gentleness and truth are needed. And sometimes you will see little child-crystals put to school like school-girls, and made to stand in rows; and taken the greatest care of, and taught how to hold themselves up, and behave: and sometimes you will see unhappy little child-crystals left to lie about in the dirt, and pick up their living, and learn manners, where they can. And sometimes you will see fat crystals eating up thin ones, like great capitalists and little labourers; and politico-economic crystals teaching the stupid ones how to eat each other, and cheat each other; and foolish crystals getting in the way of wise ones; and impatient crystals spoiling the plans of patient ones, irreparably; just as things go on in the world. And sometimes you may see hypocritical crystals taking the shape of others, though they are nothing like in their minds; and vampire crystals eating out the hearts of others; and hermit-crab crystals living in the shells of others; and parasite crystals living on the means of others; and courtier crystals glittering in attendance upon others; and all these, besides the two great companies of war and peace, who ally themselves, resolutely to attack, or resolutely to defend. And for the close, you see the broad shadow and deadly force of inevitable fate, above all this: you see the multitudes of crystals whose time has come; not a set time, as with us, but yet a time, sooner or later, when they all must give up their crystal ghosts:—when the strength by which they grew, and the breath given them to breathe, pass away from them; and they fail, and are consumed, and vanish away; and another generation is brought to life, framed out of their ashes.

MARY. It is very terrible. Is it not the complete fulfilment, down into the very dust, of that verse: 'The whole creation groaneth and travaileth in pain'?

L. I do not know that it is in pain, Mary: at least, the evidence tends to show that there is much more pleasure than pain, as soon as sensation becomes possible.

LUCILLA. But then, surely, if we are told that it is pain, it must be pain?

L. Yes; if we are told; and told in the way you mean, Lucilla; but nothing is said of the proportion to pleasure. Unmitigated pain would kill any of us in a few hours; pain equal to our pleasures would make us loathe life; the word itself cannot be applied to the lower conditions of matter, in its ordinary sense. But wait till to-morrow to ask me about this. To-morrow is to be kept for questions and difficulties; let us keep to the plain facts to-day. There is yet one group of facts connected with this rending of the rocks, which I especially want you to notice. You know, when you have mended a very old dress, quite meritoriously, till it won't mend any more——

EGYPT (interrupting). Could not you sometimes take gentlemen's work to illustrate by?

L. Gentlemen's work is rarely so useful as yours, Egypt; and when it is useful, girls cannot easily understand it.

DORA. I am sure we should understand it better than gentlemen understand about sewing.

L. My dear, I hope I always speak modestly, and under correction, when I touch upon matters of the kind too high for me; and besides, I never intend to speak otherwise than respectfully of sewing;—though you always seem to think I am laughing at you. In all seriousness, illustrations from sewing are those which Neith likes me best to use; and which young ladies ought to like everybody to use. What do you think the beautiful word 'wife' comes from?

DORA (tossing her head). I don't think it is a particularly beautiful word.

L. Perhaps not. At your ages you may think 'bride' sounds better; but wife's the word for wear, depend upon it. It is the great word in which the English and Latin languages conquer the French and the Greek. I hope the French will some day get a word for it, yet, instead of their dreadful 'femme.' But what do you think it comes from?

DORA. I never did think about it.

L. Nor you, Sibyl?

SIBYL. No; I thought it was Saxon, and stopped there.

L. Yes; but the great good of Saxon words is, that they usually do mean something. Wife means 'weaver.' You have all the right to call yourselves little 'housewives,' when you sew neatly.

DORA. But I don't think we want to call ourselves 'little housewives.'

L. You must either be house-Wives, or house-Moths; remember that. In the deep sense, you must either weave men's fortunes, and embroider them; or feed upon, and bring them to decay. You had better let me keep my sewing illustration, and help me out with it.

DORA. Well we'll hear it, under protest.

L. You have heard it before; but with reference to other matters. When it is said, 'no man putteth a piece of new cloth on an old garment, else it taketh from the old,' does it not mean that the new piece tears the old one away at the sewn edge?

DORA. Yes; certainly.

L. And when you mend a decayed stuff with strong thread, does not the whole edge come away sometimes, when it tears again?

DORA. Yes; and then it is of no use to mend it any more.

L. Well, the rocks don't seem to think that: but the same thing happens to them continually. I told you they were full of rents, or veins. Large masses of mountain are sometimes as full of veins as your hand is; and of veins nearly as fine (only you know a rock vein does not mean a tube, but a crack or cleft). Now these clefts are mended, usually, with the strongest material the rock can find; and often literally with threads; for the gradually opening rent seems to draw the substance it is filled with into fibres, which cross from one side of it to the other, and are partly crystalline; so that, when the crystals become distinct, the fissure has often exactly the look of a tear, brought together with strong cross stitches. Now when this is completely done, and all has been fastened and made firm, perhaps some new change of temperature may occur, and the rock begin to contract again. Then the old vein must open wider; or else another open elsewhere. If the old vein widen, it may do so at its centre; but it constantly happens, with well filled veins, that the cross stitches are too strong to break; the walls of the vein, instead, are torn away by them; and another little supplementary vein—often three or four successively—will be thus formed at the side of the first.

MARY. That is really very much like our work. But what do the mountains use to sew with?

L. Quartz, whenever they can get it: pure limestones are obliged to be content with carbonate of lime; but most mixed rocks can find some quartz for themselves. Here is a piece of black slate from the Buet: it looks merely like dry dark mud;—you could not think there was any quartz in it; but, you see, its rents are all stitched together with beautiful white thread, which is the purest quartz, so close drawn that you can break it like flint, in the mass; but, where it has been exposed to the weather, the fine fibrous structure is shown: and, more than that, you see the threads have been all twisted and pulled aside, this way and the other, by the warpings and shifting of the sides of the vein as it widened.

MARY. It is wonderful! But is that going on still? Are the mountains being torn and sewn together again at this moment?

L. Yes, certainly, my dear: but I think, just as certainly (though geologists differ on this matter), not with the violence, or on the scale, of their ancient ruin and renewal. All things seem to be tending towards a condition of at least temporary rest; and that groaning and travailing of the creation, as, assuredly, not wholly in pain, is not, in the full sense, 'until now.'

MARY. I want so much to ask you about that!

SIBYL. Yes; and we all want to ask you about a great many other things besides.

L. It seems to me that you have got quite as many new ideas as are good for any of you at present: and I should not like to burden you with more; but I must see that those you have are clear, if I can make them so; so we will have one more talk, for answer of questions, mainly. Think over all the ground, and make your difficulties thoroughly presentable. Then we'll see what we can make of them.

DORA. They shall all be dressed in their very best; and curtsey as they come in.

L. No, no, Dora; no curtseys, if you please. I had enough of them the day you all took a fit of reverence, and curtsied me out of the room.

DORA. But, you know, we cured ourselves of the fault, at once, by that fit. We have never been the least respectful since. And the difficulties will only curtsey themselves out of the room, I hope;—come in at one door—vanish at the other.

L. What a pleasant world it would be, if all its difficulties were taught to behave so! However, one can generally make something, or (better still) nothing, or at least less, of them, if they thoroughly know their own minds; and your difficulties—I must say that for you, children,—generally do know their own minds, as you do yourselves.

DORA. That is very kindly said for us. Some people would not allow so much as that girls had any minds to know.

L. They will at least admit that you have minds to change, Dora.

MARY. You might have left us the last speech, without a retouch. But we'll put our little minds, such as they are, in the best trim we can, for to-morrow.



LECTURE X.

THE CRYSTAL REST.

Evening. The fireside. L's arm-chair in the comfortablest corner.

L. (perceiving various arrangements being made of foot-stool, cushion, screen, and the like). Yes, yes, it's all very fine! and I am to sit here to be asked questions till supper-time, am I?

DORA. I don't think you can have any supper to-night:—we've got so much to ask.

LILY. Oh, Miss Dora! We can fetch it him here, you know, so nicely!

L. Yes, Lily, that will be pleasant, with competitive examination going on over one's plate; the competition being among the examiners. Really, now that I know what teasing things girls are, I don't so much wonder that people used to put up patiently with the dragons who took them for supper. But I can't help myself, I suppose;—no thanks to St. George. Ask away, children, and I'll answer as civilly as may be.

DORA. We don't so much care about being answered civilly, as about not being asked things back again.

L. 'Ayez seulement la patience que je le parle.' There shall be no requitals.

DORA. Well, then, first of all—What shall we ask first, Mary?

MARY. It does not matter. I think all the questions come into one, at last, nearly.

DORA. You know, you always talk as if the crystals were alive; and we never understand how much you are in play, and how much in earnest. That's the first thing.

L. Neither do I understand, myself, my dear, how much I am in earnest. The stones puzzle me as much as I puzzle you. They look as if they were alive, and make me speak as if they were; and I do not in the least know how much truth there is in the appearance. I'm not to ask things back again to-night, but all questions of this sort lead necessarily to the one main question, which we asked, before, in vain, 'What is it to be alive?'

DORA. Yes; but we want to come back to that: for we've been reading scientific books about the 'conservation of forces,' and it seems all so grand, and wonderful; and the experiments are so pretty; and I suppose it must be all right: but then the books never speak as if there were any such thing as 'life.'

L. They mostly omit that part of the subject, certainly, Dora; but they are beautifully right as far as they go; and life is not a convenient element to deal with. They seem to have been getting some of it into and out of bottles, in their 'ozone' and 'antizone' lately; but they still know little of it: and, certainly, I know less.

DORA. You promised not to be provoking, to-night.

L. Wait a minute. Though, quite truly, I know less of the secrets of life than the philosophers do; I yet know one corner of ground on which we artists can stand, literally as 'Life Guards' at bay, as steadily as the Guards at Inkermann; however hard the philosophers push. And you may stand with us, if once you learn to draw nicely.

DORA. I'm sure we are all trying! but tell us where we may stand.

L. You may always stand by Form, against Force. To a painter, the essential character of anything is the form of it; and the philosophers cannot touch that. They come and tell you, for instance, that there is as much heat, or motion, or calorific energy (or whatever else they like to call it), in a tea-kettle as in a Gier-eagle. Very good; that is so; and it is very interesting. It requires just as much heat as will boil the kettle, to take the Gier-eagle up to his nest; and as much more to bring him down again on a hare or a partridge. But we painters, acknowledging the equality and similarity of the kettle and the bird in all scientific respects, attach, for our part, our principal interest to the difference in their forms. For us, the primarily cognisable facts, in the two things, are, that the kettle has a spout, and the eagle a beak; the one a lid on its back, the other a pair of wings;—not to speak of the distinction also of volition, which the philosophers may properly call merely a form or mode of force;—but then, to an artist, the form, or mode, is the gist of the business. The kettle chooses to sit still on the hob; the eagle to recline on the air. It is the fact of the choice, not the equal degree of temperature in the fulfilment of it, which appears to us the more interesting circumstance;—though the other is very interesting too. Exceedingly so! Don't laugh, children; the philosophers have been doing quite splendid work lately, in their own way: especially, the transformation of force into light is a great piece of systematised discovery; and this notion about the sun's being supplied with his flame by ceaseless meteoric hail is grand, and looks very likely to be true. Of course, it is only the old gun-lock,—flint and steel,—on a large scale: but the order and majesty of it are sublime. Still, we sculptors and painters care little about it. 'It is very fine,' we say, 'and very useful, this knocking the light out of the sun, or into it, by an eternal cataract of planets. But you may hail away, so, for ever, and you will not knock out what we can. Here is a bit of silver, not the size of half-a-crown, on which, with a single hammer stroke, one of us, two thousand and odd years ago, hit out the head of the Apollo of Clazomenae. It is merely a matter of form; but if any of you philosophers, with your whole planetary system to hammer with, can hit out such another bit of silver as this,—we will take off our hats to you. For the present, we keep them on.'

MARY. Yes, I understand; and that is nice; but I don't think we shall any of us like having only form to depend upon.

L. It was not neglected in the making of Eve, my dear.

MARY. It does not seem to separate us from the dust of the ground. It is that breathing of the life which we want to understand.

L. So you should: but hold fast to the form, and defend that first, as distinguished from the mere transition of forces. Discern the moulding hand of the potter commanding the clay, from his merely beating foot, as it turns the wheel. If you can find incense, in the vase, afterwards,—well: but it is curious how far mere form will carry you ahead of the philosophers. For instance, with regard to the most interesting of all their modes of force—light;—they never consider how far the existence of it depends on the putting of certain vitreous and nervous substances into the formal arrangement which we call an eye. The German philosophers began the attack, long ago, on the other side, by telling us, there was no such thing as light at all, unless we chose to see it: now, German and English, both, have reversed their engines, and insist that light would be exactly the same light that it is, though nobody could ever see it. The fact being that the force must be there, and the eyes there; and 'light' means the effect of the one on the other;—and perhaps, also—(Plato saw farther into that mystery than any one has since, that I know of),—on something a little way within the eyes; but we may stand quite safe, close behind the retina, and defy the philosophers.

SIBYL. But I don't care so much about defying the philosophers, if only one could get a clear idea of life, or soul, for one's self.

L. Well, Sibyl, you used to know more about it, in that cave of yours, than any of us. I was just going to ask you about inspiration, and the golden bough, and the like; only I remembered I was not to ask anything. But, will not you, at least, tell us whether the ideas of Life, as the power of putting things together, or 'making' them; and of Death, as the power of pushing things separate, or 'unmaking' them, may not be very simply held in balance against each other?

SIBYL. No, I am not in my cave to-night; and cannot tell you anything.

L. I think they may. Modern Philosophy is a great separator; it is little more than the expansion of Moliere's great sentence, 'Il s'ensuit de la, que tout ce qu'il y a de beau est dans les dictionnaires; il n'y a que les mots qui sont transposes.' But when you used to be in your cave, Sibyl, and to be inspired, there was (and there remains still in some small measure), beyond the merely formative and sustaining power, another, which we painters call 'passion'—I don't know what the philosophers call it; we know it makes people red, or white; and therefore it must be something, itself; and perhaps it is the most truly 'poetic' or 'making' force of all, creating a world of its own out of a glance, or a sigh: and the want of passion is perhaps the truest death, or 'unmaking' of everything;—even of stones. By the way, you were all reading about that ascent of the Aiguille Verte, the other day?

SIBYL. Because you had told us it was so difficult, you thought it could not be ascended.

L. Yes; I believed the Aiguille Verte would have held its own. But do you recollect what one of the climbers exclaimed, when he first felt sure of reaching the summit?

SIBYL. Yes, it was, 'Oh, Aiguille Verte, vous etes morte, vous etes morte!'

L. That was true instinct. Real philosophic joy. Now can you at all fancy the difference between that feeling of triumph in a mountain's death; and the exultation of your beloved poet, in its life—

'Quantus Athos, aut quantus Eryx, aut ipse coruscis Quum fremit ilicibus quantus, gandetque nivali Vertice, se attollens pater Apenninus ad auras.'

DORA. You must translate for us mere house-keepers, please,—whatever the cave-keepers may know about it.

MARY. Will Dryden do?

L. No. Dryden is a far way worse than nothing, and nobody will 'do.' You can't translate it. But this is all you need know, that the lines are full of a passionate sense of the Apennines' fatherhood, or protecting power over Italy; and of sympathy with their joy in their snowy strength in heaven; and with the same joy, shuddering through all the leaves of their forests.