Chapter 12

There was a reason. Bohemian as was the artist during the last decade of his life, he did not always haunt low cafés and drink absinthe. His beginnings were as romantic as a page of Balzac. He was born a gentleman _à la main gauche_. His father was the doctor and private secretary of Lady Stanhope. Charles Lewis Meryon was an English physician, who, falling in love with a ballet dancer at the Opéra, Pierre Narcisse Chaspoux, persuaded her that it would be less selfish on her part if she would not bind him to her legally. November 23,1821, a sickly, nervous, and wizened son was born to the pair and baptised with his father's name, who, being an alien, generously conceded that much. There his interest ceased. On the mother fell the burden of the boy's education. At five he was sent to school at Passy and later went to the south of France. In 1837 he entered the Brest naval school, and 1839 saw him going on his maiden voyage. This first trip was marred by the black sorrow that fell upon him when informed of his illegitimate birth. "I was mad from the time I was told of my birth," he wrote, and until madness supervened he suffered from a "wounded imagination." He was morbid, shy, and irritable, and his energy--the explosive energy of this frail youth was amazing; because he had been refused the use of a ship boat he wasted three months digging out a canoe from a log of wood. Like Paul Gauguin, he saw many countries, and his eyes were trained to form, though not colour--he suffered from Daltonism--for when he began to paint he discovered he was totally colour-blind. The visible world for him existed as a contrapuntal net-work of lines, silhouettes, contours, or heavy dark masses. When a sailor he sketched. Meryon tells of the drawing of a little fungus he found in Akaroa. "Distorted in form and pinched and puny from its birth, I could not but pity it; it seemed to me so entirely typical of the inclemency and at the same time of the whimsicality of an incomplete and sickly creation that I could not deny it a place in my _souvenirs de voyage_, and so I drew it carefully." This bit of fungus was to him a symbol of his own gnarled existence.

Tiring of ship life, he finally decided to study art. He had seen New Zealand, Australia, Italy, New Caledonia, and if his splendid plate--No. 22 in M. Burty's list--is evidence, he must have visited San Francisco. Baudelaire, in L'Art Romantique, speaks of this perspective of San Francisco as being Meryon's most masterly design. In 1846 he quit seafaring. He was in mediocre health, and though from a cadet he had attained the rank of lieutenant it was doubtful if he would ever rise higher. His mother had left him four thousand dollars, so he went over to the Latin Quarter and began to study painting. That he was unfitted for, and meeting Eugène Bléry he became interested in etching. A Dutch seventeenth-century etcher and draughtsman, Reiner Zeeman by name, attracted him. He copied, too, Ducereau and Nicolle. "An etching by the latter of a riverside view through the arch of a bridge is like a link between Meryon and Piranesi," says D.S. MacColl. Meryon also studied under the tuition of a painter named Phelippes. He went to Belgium in 1856 on the invitation of the Duc d'Aremberg, and in 1858 he was sent to Charenton suffering from melancholy and delusions. He left in a year and returned to Paris and work; but, as Baudelaire wrote, a cruel demon had touched the brain of the artist. A mystic delirium set in. He ceased to etch, and evidently suffered from the persecution madness. In every corner he believed conspiracies were hatching. He often disappeared, often changed his abode. Sometimes he would appear dressed gorgeously at a boulevard café in company with brilliant birds of prey; then he would be seen slinking through mean streets in meaner rags. There are episodes in his life that recall the career of another man of genius, Gerard de Nerval, poet, noctambulist, suicide. It is known that Meryon destroyed his finest plates, but not in a mad fit. Baudelaire says that the artist, who was a perfectionist, did not wish to see his work suffer from rebiting, so he quite sensibly sawed up the plates into tiny strips. That he was suspicious of his fellow-etchers is illustrated in the story told by Sir Seymour Haden, who bought several of his etchings from him at a fair price. Two miles away from the atelier the Englishman was overtaken by Meryon. He asked for the proofs he had sold, "as they were of a nature to compromise him"; besides, from what he knew of Haden's etchings he was determined that his proofs should not go to England. Sir Seymour at once returned the etchings. Now, whether Meryon's words were meant as a compliment or the reverse is doubtful. He was half crazy, but he may have seen through a hole in the millstone.

Frederick Keppel once met in Paris an old printer named Beillet who did work for Meryon. He could not always pay for the printing of his celebrated Abside de Notre Dame, a masterpiece, as he hadn't the necessary ten cents. "I never got my money!" exclaimed the thrifty printer. Enormous endurance, enormous vanity, diseased pride, outraged human sentiment, hatred of the Second Empire because of the particular clause in the old Napoleonic code relating to the research of paternity; an irregular life, possibly drugs, certainly alcoholism, repeated rejections by the academic authorities, critics, and dealers of his work--these and a feeble constitution sent the unfortunate back to Charenton, where he died February 14, 1868. Baudelaire, his critical discoverer, had only preceded him to a lunatic's grave six months earlier. Inasmuch as there is a certain family likeness among men of genius with disordered minds and instincts, several comparisons might be made between Meryon and Baudelaire. Both were great artists and both were born with flawed, neurotic systems. Dissipation and misery followed as a matter of course.

Charles Meryon was, nevertheless, a sane and a magnificent etcher. He executed about a hundred plates, according to Burty. He did not avoid portraiture, and to live he sometimes manufactured pot-boilers for the trade. To his supreme vision was joined a miraculous surety of touch. Baudelaire was right--those plates, the Paris set, so dramatic and truthful in particulars, could have been sold if Meryon, with his wolfish visage, his fierce, haggard eyes, his gruff manner, had not offered them in person. He looked like a vagabond very often and too often acted like a brigand. The Salon juries were prejudiced against his work because of his legend. Verlaine over again! The etchings were classic when they were born. We wonder they did not appeal immediately. To-day, if you are lucky enough to come across one, you are asked a staggering price. They sold for a song--when they did sell--during the lifetime of the artist. Louis Napoleon and Baron Haussmann destroyed picturesque Paris to the consternation of Meryon, who to the eye of an archæologist united the soul of an artist. He loved old Paris. We can evoke it to-day, thanks to these etchings, just as the Paris of 1848 is forever etched in the pages of Flaubert's L'Education Sentimentale.

But there is hallucination in these etchings, beginning with Le Stryge, and its demoniac leer, "insatiable vampire, l'eternelle luxure." That gallery of Notre Dame, with Wotan's ravens flying through the slim pillars from a dream city bathed in sinister light, is not the only striking conception of the poet-etcher. The grip of reality is shown in such plates as Tourelle, Rue de la Tisseranderie, and La Pompe, Notre Dame. Here are hallucinations translated into the actual terms of art, suggesting, nevertheless, a solidity, a sharpness of definition, withal a sense of fluctuating sky, air, clouds that make you realise the _justesse_ of Berenson's phrase--tactile values. With Meryon the tactile perception was a sixth sense. Clairvoyant of images, he could transcribe the actual with an almost cruel precision. Telescopic eyes his, as MacColl has it, and an imagination that perceived the spectre lurking behind the door, the horror of enclosed spaces, and the mystic fear of shadows--a Poe imagination, romantic, with madness as an accomplice in the horrible game of his life. One is tempted to add that the romantic imagination is always slightly mad. It runs to seed in darkness and despair. The fugitive verse of Meryon is bitter, ironical, defiant; a whiff from an underground prison, where seems to sit in tortured solitude some wretch abandoned by humanity, a stranger even at the gates of hell.

Sir Seymour Haden has told us that Meryon's method was to make a number of sketches, two or three inches square, of parts of his picture, which he put together and arranged into a harmonious whole. Herkomer says that he "used the burin in finishing his bitten work with marvellous skill. No better combination can be found of the harmonious combination of the two." Burty declared that "Meryon preserves the characteristic detail of architecture... Without modifying the aspect of the monument he causes it to express its hidden meaning, and gives it a broader significance by associating it with his own thought." His employment of a dull green paper at times showed his intimate feeling for tonalities. He is, more so than Piranesi, the Rembrandt of architecture. Hamerton admits that the French etcher was "one of the greatest and most original artists who have appeared in Europe," and berates the public of the '60s for not discovering this. Then this writer, copying in an astonishingly wretched manner several of Meryon's etchings, analysing their defects as he proceeds, asserts that there is false tonality in Le Stryge. "The intense black in the street under the tower of St. Jacques destroys the impression of atmosphere, though at a considerable distance it is as dark as the nearest raven's wing, which cannot relieve itself against it. This may have been done in order to obtain a certain arrangement of black and white patches," etc. This was done for the sheer purpose of oppositional effects. Did Hamerton see a fine plate? The shadow is heavy; the street is in demi, not total, obscurity; the values of the flying ravens and the shadow are clearly enunciated. The passage is powerful, even sensational, and in the Romantic, Hugoesque key. Hamerton is wrong. Meryon seldom erred. His was a temperament of steel and fire.

JOHN MARTIN, MEZZOTINTER

The sitting-room was long and narrow. A haircloth sofa of uncompromising rectitude was pushed so close to the wall that the imprints of at least two generations of heads might be discerned upon the flowered wall-paper--flowers and grapes of monstrous size from some country akin to that visited by the Israelitish spies as related in the Good Book. A mahogany sideboard stood at the upper end of the room; in one window hung a cage which contained a feeble canary. As you entered your eyes fell upon an ornamental wax fruit piece under a conical glass. A stuffed bird, a robin redbreast, perched on a frosted tree in the midst of these pale tropical offerings, glared at you with beady eyes. Antimacassars and other things of horror were in the room. Also a centre table upon which might have been found Cowper's poems, the Bible, Beecher's sermons, and an illustrated book about the Holy Land by some hardworking reverend. It was Aunt Jane's living-room; in it she had rocked and knitted for more than half a century. There were a few pictures on the wall, a crayon of her brother, a bank president with a shaved upper lip, a high, pious forehead, and in his eyes a stern expression of percentage. Over the dull white marble mantelpiece hung a huge mezzotint, of violent contrast in black and white, a picture whose subject had without doubt given it the place of honour in this old-fashioned, tasteless, homely, comfortable room. It bore for a title The Fall of Nineveh, and it was designed and mezzotinted by John Martin.

Let us look at this picture. It depicts the downfall of the great city upon which the wrath of God is visited. There are ghastly gleams of lightning above the doomed vicinity. A fierce tempest is in progress as the invading hosts break down the great waterways and enter dry-shod into the vast and immemorial temples and palaces. The tragedy, the human quality of the design, is summed up by the agitated groups in the foreground; the king, surrounded by his harem, makes a gesture of despair; the women, with loose-flowing draperies, surround him like frightened swans. A high priest raises his hand to the stormy heavens, upon which he is evidently invoking as stormy maledictions. A warrior swings his blade; to his neck clings a fair helpless one, half nude. There are other groups. Men in armour rush to meet the foe in futile agitation. On temple tops, on marble terraces and balconies, on the efflorescent capitals of vast columns that pierce the sky, swarms affrighted humanity. The impression is grandiose and terrific. Exotic architecture, ebon night, an event that has echoed down the dusty corridors of legend or history--these and a hundred other details are enclosed within the frame of this composition. Another picture which hangs hard by, the Destruction of Jerusalem, after Kaulbach, is colourless in comparison. The Englishman had greater imagination than the German, though he lacked the latter's anatomical science. To-day in the Pinakothek, Munich, Kaulbach holds a place of honour. You may search in vain at the London National Gallery for the paintings of a man who once was on the crest of popularity in England, whose Biblical subjects attracted multitudes, whose mezzotints and engravings were sold wherever the English Bible was read. John Martin, painter, mezzotinter, man of gorgeous imagination, second to De Quincey or the author of Vathek, is to-day more forgotten than Beckford himself.

Heinrich Heine in his essay, The Romantic School, said that "the history of literature is a great morgue, wherein each seeks the dead who are near or dear to him." Into what morgue fell John Martin before his death? How account for the violent changes in popular taste? Martin suffered from too great early success. The star of Turner was in the ascendant. John Ruskin denied merit to the mezzotinter, and so it is to-day that if you go to our print-shops you will seldom find one of his big or little plates. He has gone out of fashion--fatal phrase!--and only in the cabinets of old collectors can you get a peep at his archaic and astounding productions. William Blake is in vogue; perhaps Martin--? And then those who have garnered his plates will reap a harvest.

Facts concerning him or his work are slight. Bryan's dictionary accords him a few paragraphs. When at the British Museum, a few years ago, I asked Mr. Sidney Colvin about the Martins in his print-room. There are not many, not so many as in a certain private collection here. But Mr. Colvin told me of the article written by Cosmo Monkhouse in the Dictionary of National Biography, and from it we are enabled to present a few items about the man's career. He was born at Hayden Bridge, near Hexham, Northumberland, July 19, 1789. His father, Fenwick Martin, a fencing-master, held classes at the Chancellor's Head, Newcastle. His brothers, Jonathan (1782-1838) and William (1772-1851), have some claim on our notice, for the first was an insane prophet and incendiary, having set fire to York Minster in 1829; William was a natural philosopher and poet who published many works to prove the theory of perpetual motion. "After having convinced himself by means of thirty-six experiments of the impossibility of demonstrating it scientifically, it was revealed to him in a dream that God had chosen him to discover the great cause of all things, and this he made the subject of many works" (Jasnot, Vérités positives, 1854). Verily, as Lombroso hath it, "A hundred fanatics are found for a theological or metaphysical statement, but not one for a geometric problem."

The Martin stock was, without doubt, neurasthenic. John was apprenticed when fourteen to Wilson, a Newcastle coach painter, but ran away after a dispute over wages. He met Bonifacio Musso, an Italian china painter, and in 1806 went with him to London. There he supported himself painting china and glass while he studied perspective and architecture. At nineteen he married and in 1812 lived in High Street, Marylebone, and from there sent to the Academy his first picture, Sadak in Search of the Waters of Oblivion (from Tales of the Genii). The figure of Sadak was so small that the framers disputed as to the top of the picture. It sold to Mr. Manning for fifty guineas. Benjamin West, president of the Royal Academy, encouraged Martin, and next year he painted Adam's First Sight of Eve, which he sold for seventy guineas. In 1814 his Clytis was shown in an ante-room of the exhibition, and he bitterly complained of his treatment. Joshua, in 1816, was as indifferently hung, and he never forgave the Academy the insult, though he did not withdraw from its annual functions. In 1817 he was appointed historical painter to Princess Charlotte and Prince Leopold. He etched about this time Character of Trees (seven plates) and the Bard at the Academy. In 1818 he removed to Allsop Terrace, New (Marylebone road). In 1819 came The Fall of Babylon, Macbeth (1820), Belshazzar's Feast (1821), which, "excluded" from the Academy, yet won the £200 prize. A poem by T.S. Hughes started Martin on this picture. It was a national success and was exhibited in the Strand behind a glass transparency. It went the round of the provinces and large cities and attracted thousands. Martin joined the Society of British Artists at its foundation and exhibited with them from 1824 to 1831, and also in 1837 and 1838, after which he sent his important pictures to the Royal Academy.

In 1833 The Fall of Nineveh went to Brussels, where it was bought by the Government. Martin was elected member of the Belgian Academy and the Order of Leopold was conferred on him. His old quarrels with the Academy broke out in 1836, and he testified before a committee as to favouritism. Then followed The Death of Moses, The Deluge, The Eve of the Deluge, The Assuaging of the Waters, Pandemonium. He painted landscapes and water-colours, scenes on the Thames, Brent, Wandle, Wey, Stillingbourne, and the hills and eminences about London. About this time he began scheming for a method of supplying London with water and one that would improve the docks and sewers. He engraved many of his own works, Belshazzar, Joshua, Nineveh, Fall of Babylon. The first two named, with The Deluge, were presented by the French Academy to Louis Philippe, for which courtesy a medal was struck off in Martin's honour. The Ascent of Elijah, Christ Tempted in the Wilderness, and Martin's illustrations (with Westall's) to Milton's Paradise Lost were all completed at this period. For the latter Martin received £2,000. He removed to Lindsey House, Chelsea, in 1848 or 1849, and was living there in 1852, when he sent to the Academy his last contribution, Destruction of Sodom and Gomorrah. November 12, 1853, while engaged upon his last large canvases, The Last Judgment, The Great Day of Wrath, and The Plains of Heaven, he was paralysed on his right side. He was removed to the Isle of Man, and obstinately refusing proper nourishment, died at Douglas February 17, 1854. After his death three pictures, scenes from the Apocalypse, were exhibited at the Hall of Commerce. His portrait by Wangemann appeared in the _Magazine of Fine Arts_. A second son, Leopold Charles, writer, and godson of Leopold, King of Belgium, was an authority on costumes and numismatics (1817-89). His wife was a sister of Sir John Tenniel of _Punch_.

John Martin was slightly cracked; at least he was so considered by his contemporaries. He was easily affronted, yet he was a very generous man. He bought Etty's picture, The Combat, in 1825 for two or three hundred guineas. There are at the South Kensington Museum three Martins, watercolours, and one oil; at Newcastle, an oil. At the time of his decease his principal works were in the collections of Lord de Tabley, Dukes of Buckingham and Sutherland, Messrs. Hope and Scarisbruck, Earl Grey and Prince Albert. The Leyland family of Nantchvyd, North Wales, owns the Joshua and several typical works of Martin. Wilkie, in a letter to Sir George Beaumont, describes Belshazzar's Feast as a "phenomenon." Bulwer declared that Martin was "more original and self-dependent than Raphael or Michael Angelo." In the Last Essays of Elia there is one by Charles Lamb entitled Barrenness of the Imaginative Faculty in the Production of Modern Art. The name of Martin is not mentioned, but several of his works are unmistakably described. "His towered architecture [Lamb is writing of Belshazzar's Feast] are of the highest order of the material sublime. Whether they were dreams or transcripts of some elder workmanship--Assyrian ruins old--restored by this mighty artist, they satisfy our most stretched and craving conceptions of the glories of the antique world. It is a pity that they were ever peopled." "Literary" art critic as he was, Lamb put his finger on Martin's weakest spot--his figure painting. The entire essay should be read, for it contains a study of the Joshua in which this most delicious of English prose writers speaks of the "wise falsifications" of the great masters. Before his death the critics, tiring of him sooner than the public, called Martin tricky, meretricious, mechanical. To be sure, his drawing is faulty, his colour hot and smoky; nevertheless, he was not a charlatan. As David Wilkie wrote: "Weak in all these points in which he can be compared to other artists," he had the compensating quality of an imposing, if at times operatic, imagination. Monkhouse justly says that in Martin's illustrations to Milton the smallness of scale and absence of colour enable us to appreciate the grandeur of his conceptions with a minimum of his defects.

In sooth he lacked variety. His pictures are sooty and apocalyptic. We have seen the Mountain Landscape, at South Kensington, The Destruction of Herculaneum, at Manchester, another at Newcastle whose subject escapes us, and we confess that we prefer the mezzotints of Martin, particularly those engraved by Le Keux--whose fine line and keen sense of balance corrected the incoherence of Martin's too blackened shadows and harsh explosions of whites. One looks in vain for the velvety tone of Earlom, or the vivid freshness of Valentine Green, in Martin. He was not a colourist; his mastery consisted in transferring to his huge cartoons a sense of the awful, of the catastrophic. He excelled in the delineation of massive architecture, and if Piranesi was his superior in exactitude, he equalled the Italian in majesty and fantasy of design. No such cataclysmic pictures were ever before painted, nor since, though Gustave Doré, who without doubt made a study of Martin, has incorporated in his Biblical illustrations many of Martin's overwhelming ideas--the Deluge, for example. James Ensor, the Belgian illustrator, is an artist of fecund fancy who, alone among the new men, has betrayed a feeling for the strange architecture, dream architecture, we encounter in Martin. Coleridge in Kubla Khan, De Quincey in opium reveries, Poe and Baudelaire are among the writers who seem nearest to the English mezzotinter. William Beckford's Vathek, that most Oriental of tales, first written in French by a millionaire of genius, should have inspired Martin. Perhaps its mad fantasy did, for all we know--there is no authentic compilation of his compositions. Heine has spoken of Martin, as has Théophile Gautier; and his name, by some kink of destiny, is best known to the present generation because of Macaulay's mention of it in an essay.