
By Murray Roston
Examines how either artist and author within the Victorian period replied to the shared demanding situations, assumptions, and dilemmas in their time, usually unaware that a similar difficulties have been being faced within the kindred media. The putting of such writers as Dickens, G.Eliot, Hopkins, and Henry James in the context of Victorian portray, structure, and inside layout bargains clean insights into their works, in addition to reassessments of such subject matters because the mid-century illustration of the Fallen girl or the effect of commodity tradition upon modern aesthetic standards.
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It does indeed display the chaos of a world in uncontrollable turbulence, with the grim darkness broken only by the lurid glare of volcanic eruption. 43 There the raw violence of soldiers in the left foreground, despoiling corpses of their clothing or fighting with naked daggers Carlyle's 'Fire-Baptism' 29 over a dying woman, intensify the sense of lawless turmoil, with the sun incapable of breaking through the dark snow clouds which swirl ominously about the scene. In Carlyle's writing too, as we have seen, that apprehension of universal chaos predominates.
On the opposite wall was a picture, by Jones, of Shadrach, Meshach, and Abednego in the furnace. '61 Lawrence Gowing noted some years ago how Turner's witnessing of the burning of the Houses of Parliament in 1834 released ' ... 62 The change may have occurred a little earlier in his career, either during his two visits to Italy in 1819 and 1828, or, as in the view I have adopted here, during his stay at Petworth, with his witnessing of the Parliament fire a few years later intensifying the process; but the principle argued by Gowing is undoubtedly correct, that from this period onward the marks of pigmentation on his canvases cease to conform mimetically to any identifiable object in the actual scene.
The associations accumulated before Turner's time, he points out, included the apprehension of the sun as the god-like source of all power, with the monitory corollary that whoever gazes upon the face of God will die. There was the sun in Plato's myth, so dazzling to the philosopher that, on his return to the cave, he could with difficulty distinguish the shadows previously so clear to him; the blind Milton's invocation to Celestial Light to shine Carlyle's 'Fire-Baptism' 27 inward that he might see things invisible to mortal sight; its association with reason during the period of Louis XIV; and, chronologically closer to the execution of these paintings, its identification with the Burkean sublime.