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CHAPTER 56: Of the Less Erroneous Pictures of Whales, and the True Pictures of Whaling Scenes. (continued)
In the second engraving, the boat is in the act of drawing alongside the barnacled flank of a large running Right Whale, that rolls his black weedy bulk in the sea like some mossy rock-slide from the Patagonian cliffs. His jets are erect, full, and black like soot; so that from so abounding a smoke in the chimney, you would think there must be a brave supper cooking in the great bowels below. Sea fowls are pecking at the small crabs, shell-fish, and other sea candies and maccaroni, which the Right Whale sometimes carries on his pestilent back. And all the while the thick-lipped leviathan is rushing through the deep, leaving tons of tumultuous white curds in his wake, and causing the slight boat to rock in the swells like a skiff caught nigh the paddle-wheels of an ocean steamer. Thus, the foreground is all raging commotion; but behind, in admirable artistic contrast, is the glassy level of a sea becalmed, the drooping unstarched sails of the powerless ship, and the inert mass of a dead whale, a conquered fortress, with the flag of capture lazily hanging from the whale-pole inserted into his spout-hole.
Who Garnery the painter is, or was, I know not. But my life for it he was either practically conversant with his subject, or else marvellously tutored by some experienced whaleman. The French are the lads for painting action. Go and gaze upon all the paintings of Europe, and where will you find such a gallery of living and breathing commotion on canvas, as in that triumphal hall at Versailles; where the beholder fights his way, pell-mell, through the consecutive great battles of France; where every sword seems a flash of the Northern Lights, and the successive armed kings and Emperors dash by, like a charge of crowned centaurs? Not wholly unworthy of a place in that gallery, are these sea battle-pieces of Garnery.
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