XVIII.

THE PICTURES.

"Let pictures speak to the eye, to the ear, to the taste, to the heart, to the head, to the concentrated light of the soul, to the imagination as well as to the understanding. If they do not rouse good aspirations, cast them into the fathomless ravine, there to perish, a fitting food for the poisonous fungi that cover its sides."

Among the pictures to which I refer is a series representing the following subjects:—

I. FOUNDING OF THE SCHOOLS. II. THE OPENING OF THE AMUSEMENT GALLERY. III. MAN. IV. WOMAN. V. MARRIED LIFE. VI. FLOCKS AND HEEDS. VII. THE ALLMANYUKA. VIII. THE STAR INSTRUMENT. IX. NAVIGATION BEFORE AND SINCE MY REIGN. X. CONSUMPTION OF THE VITALITY. XI. MADNESS. XII. THE EXPOSITION OF THE NEW DOCTRINES. XIII. THE REBELS. XIV. THE MOUNTAIN SUPPORTER. XV. INVENTION OF THE LEAF INSTRUMENT. XVI. SUN-POWER AND ITS APPLICATION TO MANUFACTURES, AND FOR HEALTH PURPOSES. XVII. OPENING OF THE ELECTRIC THEATRE. XVIII. INVENTION OF THE INFANTS' EXERCISING MACHINES. XIX. THE INSTALLATION OF THE CHARACTER-DIVERS AND PRECEPTORS, IN PRESENCE OF THE TWELVE KINGS. XX. THE VALLEY OF THE ROCKS. XXI. THE CONSUMMATION.

I. THE FOUNDING OF THE SCHOOLS.

Education before and since the Tootmanyoso's reign is typified.

On one side a number of poor intelligent children are depicted wandering in ignorance. On the other is seen the college as now established, with indications of results. The one part of the picture is seen as if it were enveloped in darkness, whilst on another part the sun is shining brilliantly.

II. THE AMUSEMENT GALLERY.

The opening of the first Amusement Gallery is here depicted with the Tootmanyoso attending.

This is an interesting picture. It exhibits the gallery, with the different playthings and amusements, toys, musical instruments, live birds, small animals, flowers, and other objects. Amid these are shown the interest and delight of the little ones, happy groups of merry faces, the joy and gratitude of the mothers, the Tootmanyoso's satisfaction in contemplating his work, and the intent observation of the "Character-Divers," and "Overlookers," with other varied and interesting features.[1]

[Footnote 1: See p. 202.]

III. MAN.

Man is shown as he was before, and as he had become after I as Tootmanyoso had reigned about one hundred of your years. Man's life had been lengthened from your average age to one which before the employment of the means enjoined and carried out in my reign would have been considered impossible.

The different stages of man's life during both eras are here contrasted in every gradation. Thus we have the child as he was, the child as he is, commencing his education, and his entry into manhood; the coxcomb and dissipated man of former times, and the man of the present era, following the road leading to his own happiness and the good of others; middle age—the man struggling to draw the load up the hill with painful efforts, the other man engaged in congenial occupation; lastly, the disappointed and the happy old age.

IV. WOMAN.

In like manner we have a series of pictures showing woman's former state; her present education, in the representation of which episodes are given of her progress in her own sphere to the level and companionship of man. Reference is made to the means of increasing her beauty, and employing her charms for her own and man's happiness;[1] the gentleness of her nature in softening man's lot, whilst she is supported and defended by him; woman as a mother, her devotion to her children, and her joy and gratitude in contemplating the development of their strength and beauty through the means enjoined and practised in my reign.

[Footnote 1: See p. 94.]

One picture, let me add, represents the mode of choosing a husband,[2] and another represents ceremonies used in the preparations for marriage.[3]

[Footnote 2: See p. 104.]

[Footnote 3: See p. 120.]

V. MARRIED LIFE.

In the picture relating to this subject we first show marriage as it was. The wife and husband are rarely by each other's side; when they meet they are in common attire, and receive each other with frowns; the wife, in grand costume, smiles on strangers, and so on with other episodes of former married life.

With this state of things is then contrasted, in every detail, the happiness of the married state as it now exists.

VI. FLOCKS AND HERDS.

These are pictures showing the spare and lean cattle of earlier times, the former paucity of our flocks and herds, and the present innumerable supplies,—the result of good treatment, and of people's obedience to a law of mine which forbade them to slaughter the female, so that our resources for multiplying our stocks should not be diminished. The present humane method of treating animals, and the dispatching of the animal without pain, are admirably depicted.[1]

[Footnote 1: See p. 213.]

VII. THE ALLMANYUKA.

The different stages of my progress in creating the Allmanyuka, or new food, substituted by me for a strong, stimulating, and injurious condiment previously in general use, are represented in another series of paintings, showing the incipient thought and its perfection, the fruit in its various phases, my anxiety while watching the growth of the fruit, my joy when success had crowned my efforts, and the gratitude of the people.[2]

[Footnote 2: See p. 220.]

VIII. THE STAR INSTRUMENT.

The Tootmanyoso is seen looking through the "Star Instrument," while worlds are opening in the distance. This "star instrument," or "world viewer," is a gigantic telescope of immense power, aided by electricity, constructed for me at my suggestion.[1] The power of our telescopes is wondrously increased by electric and chemical combinations, but this one excelled all others in magnitude and power.

[Footnote 1: See p. 299.]

IX. NAVIGATION.

Navigation before and since my reign is here depicted. The frail and sluggish ships of former times are contrasted with the swift and powerful ships constructed in my reign.[2]

[Footnote 2: See p. 268.]

X. CONSUMPTION OF THE VITALITY.

An episode connected with the discovery of the incipient cause of this malady is here represented.[3]

[Footnote 3: See p. 235.]

XI. MADNESS.

In a series of pictures are portrayed various incidents illustrating the injuries formerly inflicted from ignorance of the causes of the malady, the really mad having often been regarded as sane, whilst many of the sane were treated as mad. Every phase of the malady as it formerly existed is depicted, as also the discoveries and incidents attending its detection and cure in its incipiency.

XII. EXPOSITION OF THE NEW DOCTRINES.

While representing the Tootmanyoso expounding some of his leading doctrines, the artist has given to many of the countenances a fearful expression of hatred and incredulity, while the Tootmanyoso's calm and settled purpose is grandly expressed in the dignity, eloquence, and unswerving faith depicted in his aspect and general bearing.

In this picture, too, are seen figures of children clothed in rich habits, who had been brought up in idleness, and taught to respect little else than money; some deriding, some in the act of throwing missiles at the principal figure, whom others are revering.

The poor people's joy when relieved by the Tootmanyoso from misery and oppression, and told that the gates of honour were open to themselves and their sons and daughters, is plainly shown. The beaming intelligence of beautiful children with lofty aspirations, expressing innate love of good and desire of knowledge, hitherto held back by want, is also represented. All this is more beautifully expressed by the painter than words can convey.

XIII. THE REBELS.

An episode in the Tootmanyoso's life when, alone and unarmed in his study, he was surrounded by a band of armed men, who had bound themselves by oath to murder him unless he complied with their rebellious demands, is here recorded in a picture, in which is portrayed the noble figure of the Tootmanyoso, unarmed and bareheaded, at the mercy of these furious armed men, who have the expression of wild beasts in their rage. The painter nevertheless has succeeded in giving to the faces of the rebels a cowering expression, as if they were inwardly awed by the undaunted calmness and aspect of the man they had come to destroy.

XIV. THE MOUNTAIN SUPPORTER.

Besides the most remarkable views of this wondrous work, the different interesting incidents attending its construction are recorded. Here, also, is portrayed the unsupported Mountain Arm, threatening many cities with destruction, as it appeared before the construction of the Supporter.

XV. INVENTION OF THE LEAF INSTRUMENT.

The discovery of the properties of leaves, and the invention of the "Leaf Instrument," by the aid of which fallen leaves are utilised as a valuable means of enriching the Earth. This was a great boon to my world, greatly increasing the fertility of the land and the excellence of the crops.

XVI. SUN-POWER.

The discovery of Sun-power; its application to manufactures and the arts; to various medicinal purposes, and to invigorating the constitution and brain of man.

XVII. THE ELECTRIC THEATRE.

The opening of the first Electric Theatre, and the exhibition of the wondrous feats accomplished by Electricity.

XVIII. INFANTS' EXERCISING MACHINES.

The Tootmanyoso suggesting to one of his scientific men, Drahna by name, the machines, the use of which prevented many of the accidents and diseases incident to infancy. There are many other pictures illustrating the discoveries by which health and beauty are preserved, and man's life is prolonged.[1]

[Footnote 1: See p. 187.]

XIX. INSTALLATION OF CHARACTER-DIVERS.

The Installation of Character-Divers and Preceptors is a ceremony of a very solemn character, and takes place in public, the Twelve Kings presiding. The candidate engages solemnly to fulfil the duties strictly and impartially.

XX. THE VALLEY OF THE ROCKS.

The Tootmanyoso addressing the people in the Valley of the Rocks; an extremely picturesque locality, studded with rocks, which, by his orders were sculptured into groups of gigantic statuary, calculated to impress the people's minds with grandeur and beauty.

XXI. THE CONSUMMATION.

The Tootmanyoso, on the completion of his work, is seen offering up thanks to Heaven.

The principal figure stands out from the picture in a marvellous way. A glory of light shines on the monarch's brow, and his eyes are illumined with heavenly fire and inspiration. In the background are the people, surrounded by plenty, and guarded by myriads of angels. Our painters have the art of giving to their delineations of angels an incorporeal vapoury appearance, like that of forms sometimes seen in sleep. The Tootmanyoso is in the act of accompanying his hymn of praise with the grand music of the harp. This instrument with us is of gigantic proportions, and, touched by a skilful player, produces lovely effects. It is not supported by the executant, but revolves easily on a ball and socket, to which, having been placed at the exact inclination required, it is fixed by a small bolt before he intones his hymns.[1]

[Footnote 1: See p. 243.]

It was delightful for me to go down occasionally to the great room, and to meditate on these pictures, and the subjects that had inspired the painters. The light and tone of the place, and the general impression made upon me, seemed to savour more of heaven than of earth.