Love's Meinie: Three Lectures on Greek and English Birds. Ruskin John

but the best angels would resolve themselves, I think, into little more than, and not often into so much as, the likenesses of pretty women, with that grave and (I do not say it ironically) majestic expression which they put on, when, being very fond of their husbands and children, they seriously think either the one or the other have misbehaved themselves.

      12. And it is not a little discouraging for me, and may well make you doubtful of my right judgment in this endeavor to lead you into closer attention to the bird, with its wings and claws still in its own possession;—it is discouraging, I say, to observe that the beginning of such more faithful and accurate observation in former art, is exactly coeval with the commencement of its decline. The feverish and ungraceful natural history of Paul, called, "of the birds," Paolo degli Uccelli, produced, indeed, no harmful result on the minds of his contemporaries, they watched in him, with only contemptuous admiration, the fantasy of zoological instinct which filled his house with painted dogs, cats, and birds, because he was too poor to fill it with real ones. Their judgment of this morbidly naturalistic art was conclusively expressed by the sentence of Donatello, when going one morning into the Old Market, to buy fruit, and finding the animal painter uncovering a picture, which had cost him months of care, (curiously symbolic in its subject, the infidelity of St. Thomas, of the investigatory fingering of the natural historian,) "Paul, my friend," said Donatello, "thou art uncovering the picture just when thou shouldst be shutting it up."

      13. No harm, therefore, I repeat, but, on the contrary, some wholesome stimulus to the fancy of men like Luca and Donatello themselves, came of the grotesque and impertinent zoology of Uccello.

      But the fatalest institutor of proud modern anatomical and scientific art, and of all that has polluted the dignity, and darkened the charity, of the greater ages, was Antonio Pollajuolo of Florence. Antonio (that is to say) the Poulterer—so named from the trade of his grandfather, and with just so much of his grandfather's trade left in his own disposition, that being set by Lorenzo Ghiberti to complete one of the ornamental festoons of the gates of the Florentine Baptistery, there, (says Vasari) "Antonio produced a quail, which may still be seen, and is so beautiful, nay, so perfect, that it wants nothing but the power of flight."

      14. Here, the morbid tendency was as attractive as it was subtle. Ghiberti himself fell under the influence of it; allowed the borders of his gates, with their fluttering birds and bossy fruits, to dispute the spectators' favor with the religious subjects they inclosed; and, from that day forward, minuteness and muscularity were, with curious harmony of evil, delighted in together; and the lancet and the microscope, in the hands of fools, were supposed to be complete substitutes for imagination in the souls of wise men: so that even the best artists are gradually compelled, or beguiled, into compliance with the curiosity of their day; and Francia, in the city of Bologna, is held to be a "kind of god, more particularly" (again I quote Vasari) "after he had painted a set of caparisons for the Duke of Urbino, on which he depicted a great forest all on fire, and whence there rushes forth an immense number of every kind of animal, with several human figures. This terrific, yet truly beautiful representation, was all the more highly esteemed for the time that had been expended on it in the plumage of the birds, and other minutiæ in the delineation of the different animals, and in the diversity of the branches and leaves of the various trees seen therein;" and thenceforward the catastrophe is direct, to the ornithological museums which Breughel painted for gardens of Eden, and to the still life and dead game of Dutch celebrities.

      15. And yet I am going to invite you to-day to examine, down to almost microscopic detail, the aspect of a small bird, and to invite you to do this, as a most expedient and sure step in your study of the greatest art.

      But the difference in our motive of examination will entirely alter the result. To paint birds that we may show how minutely we can paint, is among the most contemptible occupations of art. To paint them, that we may show how beautiful they are, is not indeed one of its highest, but quite one of its pleasantest and most useful; it is a skill within the reach of every student of average capacity, and which, so far as acquired, will assuredly both make their hearts kinder, and their lives happier.

      Without further preamble, I will ask you to look to-day, more carefully than usual, at your well-known favorite, and to think about him with some precision.

      16. And first, Where does he come from? I stated that my lectures were to be on English and Greek birds; but we are apt to fancy the robin all our own. How exclusively, do you suppose, he really belongs to us? You would think this was the first point to be settled in any book about him. I have hunted all my books through, and can't tell you how much he is our own, or how far he is a traveler.

      And, indeed, are not all our ideas obscure about migration itself? You are broadly told that a bird travels, and how wonderful it is that it finds its way; but you are scarcely ever told, or led to think, what it really travels for—whether for food, for warmth, or for seclusion—and how the traveling is connected with its fixed home. Birds have not their town and country houses,—their villas in Italy, and shooting boxes in Scotland. The country in which they build their nests is their proper home,—the country, that is to say, in which they pass the spring and summer. Then they go south in the winter, for food and warmth; but in what lines, and by what stages? The general definition of a migrant in this hemisphere is a bird that goes north to build its nest, and south for the winter; but, then, the one essential point to know about it is the breadth and latitude of the zone it properly inhabits,—that is to say, in which it builds its nest; next, its habits of life, and extent and line of southing in the winter; and finally, its manner of traveling.

      17. Now, here is this entirely familiar bird, the robin. Quite the first thing that strikes me about it, looking at it as a painter, is the small effect it seems to have had on the minds of the southern nations. I trace nothing of it definitely, either in the art or literature of Greece or Italy. I find, even, no definite name for it; you don't know if Lesbia's "passer" had a red breast, or a blue, or a brown. And yet Mr. Gould says it is abundant in all parts of Europe, in all the islands of the Mediterranean, and in Madeira and the Azores. And then he says—(now notice the puzzle of this),—"In many parts of the Continent it is a migrant, and, contrary to what obtains with us, is there treated as a vagrant, for there is scarcely a country across the water in which it is not shot down and eaten."

      "In many parts of the Continent it is a migrant." In what parts—how far—in what manner?

      18. In none of the old natural history books can I find any account of the robin as a traveler, but there is, for once, some sufficient reason for their reticence. He has a curious fancy in his manner of traveling. Of all birds, you would think he was likely to do it in the cheerfulest way, and he does it in the saddest. Do you chance to have read, in the Life of Charles Dickens, how fond he was of taking long walks in the night and alone? The robin, en voyage, is the Charles Dickens of birds. He always travels in the night, and alone; rests, in the day, wherever day chances to find him; sings a little, and pretends he hasn't been anywhere. He goes as far, in the winter, as the north-west of Africa; and in Lombardy, arrives from the south early in March; but does not stay long, going on into the Alps, where he prefers wooded and wild districts. So, at least, says my Lombard informant.

      I do not find him named in the list of Cretan birds; but even if often seen, his dim red breast was little likely to make much impression on the Greeks, who knew the flamingo, and had made it, under the name of Phœnix or Phœnicopterus, the center of their myths of scarlet birds. They broadly embraced the general aspect of the smaller and more obscure species, under the term ξονθος [Greek: xonthos], which, as I understand their use of it, exactly implies the indescribable silky brown, the groundwork of all other color in so many small birds, which is indistinct among green leaves, and absolutely identifies itself with dead ones, or with mossy stems.

      19. I think I show it you more accurately in the robin's back than I could in any other bird; its mode of transition into more brilliant color is, in him, elementarily simple; and although there is nothing, or rather because there is nothing, in his plumage, of interest like that of tropical birds, or even of our own game-birds, I think it will be desirable for you to learn first from the breast of the robin what a feather is. Once knowing that, thoroughly, we can further learn from the swallow what a wing is; from the chough what a beak is; and from the falcon what a claw is.

      I must take care, however, in