4434. John Ruskin to EBB
As published in The Brownings’ Correspondence, 26, 197–198.
Dresden
22nd June [1859] [1]
Dear Mrs Browning
I am so sorry not to have seen Mr Page.—nor to have been able to answer your letter sooner. It had to go to Berlin before finding me here. I do hope that if Mr Page has discovered Titian’s secret, he will not be able to exist without coming over to England or Italy to see a piece of Titian’s touch every other year, & that I shall see him when he is next in London. Not that I believe Titian has any secret. I don’t see anything in his work different from other peoples except that his is well done, and theirs is’nt. I don’t see a bit more difficulty in doing some Titian than in doing some Dante—or some Mozart—or some Browning.
Well, do you know I think I am nearly as wild as you are, about England’s aspect in this matter. I am so accustomed to see everything done wrong, that can be done wrong, in my own field of work, that I don’t easily get excited about folly in anything—but the brutal—Godless, passionless, merciless, spongy stupidity of the English in this business is a little worse to bear than usual. One might as well live in a nation of fungi, everyone standing on his one leg and holding his own round umbrella over the rottenness he lives in–
The Germans, poor, faithful, stupid, frightened creatures—understand nothing of the business but that French are fighting the people of Gutturals, and Ichs and Vaterland are somehow concerned. They never appear to consider it—that by some proceedings they might easily make it Vater-Teufel’s land. [2] It is a great compliment to the French—the bustle they are in. If I were one of these squarebuilt, flatheaded, pugnosed gentlemen—whatever happened in Italy, I should sit & smoke in peace—till the Frenchmen actually looked at me over the Alps, or were up to their necks, at least, in the Rhine.
I’m very glad to hear what you tell me of the feeling in Italy. That is all—and it was just this all of which before I doubted—being throughout the past ten years, far less eager than you have been for any political change, because I thought from the 48 business that the Italians would not know what to make of freedom—when they had got it, and instead of making any wholesome meat in her saucepan, would tie it to their tails—and go mad. I am heartily glad to hear your better account of them. I strive, in these circumstances, to go on with my own work, with blinkers over my eyes, not being able to do any other sort of good. I have begun to think with Carlyle that it is absolutely of no use talking. There’s nobody now who knows what a word means, or whom one can find an idea in to begin upon.
People now a days can be tickled into anything—frightened into most things—beaten into all but common sense; kicked—anywhere but into heaven—but talked—into nothing. I don’t see any place for me but in quiet painting. I am here copying bits of Titian & Veronese, and when I’ve done Modern Painters—which I hope will be soon [3] —I think I shall settle down into some serene work of that kind—until everything blows up—which is not unlikely to happen if people go on as they are doing.
My mother decries her sincerest thanks for the mention of Penini and his flags—we heard wonderful accounts of him; and of his music. I am so glad you are teaching him music thoroughly. My ignorance of it is a perpetual regret to me.
I shall register this letter—short as it is—for I should not like you to think I had not received or answered yours. My father & mother beg their grateful regards, for your kind message to them.
I think the San Sisto is up to her reputation [4] —and is the most elevated of Raphael madonnas—because the most natural. She is simply one of the loveliest and loftiest of Roman girls—well drawn from nature.
The “making eyes” of the child—may be very fine. I don’t understand any such things. I like to see a baby look like a baby.
It is really a great compliment to the San Sisto that she never gets put on snuffboxes nor pipes, as the Sediola [5] does–
But I would’nt give a little girl in white, with black eyes and a fan-flag—or flag fan [6] —nor a lady in pink, [7] here—of Titians for a dozen Madonnas—with any allowance of San Sistos & Barbara’s [8] that could be made me.
Ever with best love to Robert
Affectionately yours.
J Ruskin
Publication: Kate Field’s Washington, 10 October 1894, p. 228.
Manuscript: Boston Public Library.
1. Year provided by Ruskin’s reference to William Page and letter 4418.
2. Literally, “Father-Devil’s land.”
3. The fifth and final volume of Ruskin’s Modern Painters was published in June 1860.
4. The “Madonna di San Sisto” (1513), painted for the altarpiece of the Church of San Sisto in Piacenza, is now in the Gemäldegalerie, Dresden.
5. Raphael’s “Madonna della Sediola” (or “Madonna della Seggiola”), dating from the same period as the “San Sisto,” hangs in the Pitti Place, Florence.
6. The object in the right hand of the “Lady in White” (1555) by Titian, in the Gemäldegalerie, Dresden.
7. Probably “Flora” (ca. 1515) by Titian, in the Uffizi, Florence.
8. In the “Madonna di San Sisto,” the Virgin is flanked by San Sisto (St. Sixtus) on the left and St. Barbara on the right.
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