Collected Essays

point of vision a little and Macbeth could be paraphrased as a roaring farce.) Breughel makes a concession to the high tragic convention by placing in the foreground of his picture a little group made up of the holy women weeping and wringing their hands. They stand quite apart from the other figures in the picture and are fundamentally out of harmony with them, being painted in the style of Roger van der Weyden. A little oasis of passionate spirituality, an island of consciousness and comprehension in the midst of the pervading stupidity and brutishness. Why Breughel put them into his picture is difficult to guess; perhaps for the benefit of the conventionally religious, perhaps out of respect for tradition; or perhaps he found his own creation too depressing and added this noble irrelevance to reassure himself.

(From Along the Road)

Meditation on El Greco

The pleasures of ignorance are as great, in their way, as the pleasures of knowledge. For though the light is good, though it is satisfying to be able to place the things that surround one in the categories of an ordered and comprehensible system, it is also good to find oneself sometimes in the dark, it is pleasant now and then to have to speculate with vague bewilderment about a world, which ignorance has reduced to a quantity of mutually irrelevant happenings dotted, like so many unexplored and fantastic islands, on the face of a vast ocean of incomprehension. For me, one of the greatest charms of travel consists in the fact that it offers unique opportunities for indulging in the luxury of ignorance. I am not one of those conscientious travelers who, before they visit a new country, spend weeks mugging up its geology, its economics, its art history, its literature. I prefer, at any rate during my first few visits, to be a thoroughly unintelligent tourist. It is only later, when my ignorance has lost its virgin freshness, that I begin to read what the intelligent tourist would have known by heart before he bought his tickets. I read—and forthwith, in a series of apocalypses, my isolated and mysteriously odd impressions begin to assume significance, my jumbled memories fall harmoniously into patterns. The pleasures of ignorance have given place to the pleasures of knowledge.

I have only twice visited Spain—not often enough, that is to say, to have grown tired of ignorance. I still enjoy bewilderedly knowing as little as possible about all I see between the Pyrenees and Cape Trafalgar. Another two or three visits, and the time will be ripe for me to go to the London Library and look up “Spain” in the subject index. In one of the numerous, the all too numerous, books there catalogued I shall find, no doubt, the explanation of a little mystery that has mildly and intermittently puzzled me for quite a number of years—ever since, at one of those admirable Loan Exhibitions in Burlington House, I saw for the first time a version of El Greco’s Dream of Philip II.

This curious composition, familiar to every visitor to the Escorial, represents the king, dressed and gloved like an undertaker in inky black, kneeling on a well-stuffed cushion in the center foreground; beyond him, on the left, a crowd of pious kneelers, some lay, some clerical, but all manifestly saintly, are looking upwards into a heaven full of waltzing angels, cardinal virtues and biblical personages, grouped in a circle round the Cross and the luminous monogram of the Saviour. On the right a very large whale gigantically yawns, and a vast concourse, presumably of the damned, is hurrying (in spite of all that we learned in childhood about the anatomy of whales) down its crimson throat. A curious picture, I repeat, and, as a work of art, not remarkably good; there are many much better Grecos belonging even to the same youthful period. Nevertheless, in spite of its mediocrity, it is a picture for which I have a special weakness. I like it for the now sadly unorthodox reason that the subject interests me. And the subject interests me, because I do not know what the subject is. For this dream of King Philip—what was it? Was it a visionary anticipation of the Last Judgment? A mystical peep into Heaven? An encouraging glimpse of the Almighty’s short way with heretics? I do not know—do not at present even desire to know. In the face of so extravagant a phantasy as this of Greco’s, the pleasures of ignorance are peculiarly intense. Confronted by the mysterious whale, the undertaker king, the swarming aerial saints and scurrying sinners, I give my fancy license and fairly wallow in the pleasure of bewilderedly not knowing.

The fancy I like best of all that have occurred to me is the one which affirms that this queer picture was painted as a prophetic and symbolic autobiography, that it was meant to summarize hieroglyphically the whole of Greco’s future development. For that whale in the right foreground—that greatgrandfather of Moby Dick, with his huge yawn, his crimson gullet and the crowd of the damned descending, like bank clerks at six o’clock into the Underground—that whale, I say, is the most significantly autobiographical object in all El Greco’s early pictures. For whither are they bound, those hastening damned? “Down the red lane,” as our nurses used to say when they were encouraging us to swallow the uneatable viands of childhood. Down the red lane into a dim inferno of tripes. Down, in a word, into that strange and rather frightful universe which Greco’s spirit seems to have come more and more exclusively, as he grew older, to inhabit. For in the Cretan’s later painting every personage is a Jonah. Yes, every personage. Which is where The Dream of Philip II reveals itself as being imperfectly prophetic, a mutilated symbol. It is for the damned alone that the whale opens his mouth. If El Greco had wanted to tell the whole truth about his future development, he would have sent the blessed to join them, or at least have provided his saints and angels with another monster of their own, a supernal whale floating head downwards among the clouds, with a second red lane ascending, straight and narrow, toward a swallowed Heaven. Paradise and Purgatory, Hell, and even the common Earth—for El Greco in his artistic maturity, every department of the universe was situated in the belly of a whale. His Annunciations and Assumptions, his Agonies and Transfigurations and Crucifixions, his Martyrdoms and Stigmatizations are all, without exception, visceral events. Heaven is no larger than the Black Hole of Calcutta, and God Himself is whale-engulfed.

Critics have tried to explain El Greco’s pictorial agorophobia in terms of his early, Cretan education. There is no space in his pictures, they assure us, because the typical art of that Byzantium, which was El Greco’s spiritual home, was the mosaic, and the mosaic is innocent of depth. A specious explanation, whose only defect is that it happens to be almost entirely beside the point. To begin with, the Byzantine mosaic was not invariably without depth. Those extraordinary eighth-century mosaics in the Omeyyid mosque at Damascus, for example, are as spacious and airy as impressionist landscapes. They are, it is true, somewhat exceptional specimens of the art. But even the commoner shut-in mosaics have really nothing to do with El Greco’s painting, for the Byzantine saints and kings are enclosed, or, to be more accurate, are flatly inlaid in a kind of two-dimensional abstraction—in a pure Euclidean, plane-geometrical Heaven of gold or blue. Their universe never bears the smallest resemblance to that whale’s belly in which every one of El Greco’s personages has his or her mysterious and appalling being. El Greco’s world is no Flatland; there is depth in it—just a little depth. It is precisely this that makes it seem such a disquieting world. In their two-dimensional abstraction the personages of the Byzantine mosaists are perfectly at home; they are adapted to their environment. But, solid and three-dimensional, made to be the inhabitants of a spacious universe, El Greco’s people are shut up in a world where there is perhaps just room enough to swing a cat, but no more. They are in prison and, which makes it worse, in a visceral prison. For all that surrounds them is organic, animal. Clouds, rock, drapery have all been mysteriously transformed into mucus and skinned muscle and peritoneum. The Heaven into which Count Orgaz ascends is like some cosmic operation for appendicitis. The Madrid Resurrection is a resurrection in a digestive tube. And from the later pictures we receive the gruesome impression that all the personages, both human and divine, have begun to suffer a process of digestion, are being gradually assimilated to their visceral surroundings. Even in the Madrid Resurrection the forms and texture of the naked flesh have assumed a strangely tripe-like aspect. In the case of the nudes in Laocoon and The Opening of the Seventh Seal (both of them works of El Greco’s last years) this process of assimilation has been carried a good deal further. After seeing their draperies and the surrounding landscape gradually peptonized and transformed, the unhappy Jonahs of Toledo discover, to their horror, that they themselves are being digested. Their bodies, their arms and legs, their faces, fingers, toes are ceasing to be humanly their own; they are becoming—the process is slow but inexorably sure—part of the universal Whale’s internal workings. It is lucky for them that El Greco died when he did. Twenty years more, and the Trinity, the Communion of Saints and all the human race would have found themselves reduced to hardly distinguishable excrescences on the surface of a cosmic gut. The most favored might perhaps have aspired to be taenias and trematodes.

For myself, I am very sorry that El Greco did not live to be as old as Titian. At eighty or ninety he would have been producing an almost abstract art—a cubism without cubes, organic, purely visceral. What pictures he