About

The fifth must be a sunset,—the mountains riven—the city a desolate ruin—columns standing isolated amid encroaching waters—ruined temples, broken bridges, fountains, sarcophagi &c.—no human figure—a solitary bird perhaps: a calm & silent effect. This picture must be as the funeral knell of departed greatness, and may be called the state of desolation. ¹

Decode

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1. Now that civilization has fallen, the mountain has returned to its natural state and is reestablished as a key feature in the scene.

2. The moon confirms the time of day as evening, thus completing the cycle begun with The Savage State at dawn.

3. A bird builds a nest on top of a column once supporting a temple or palace, while her mate drinks from the pool of water below. This twosome may be an allusion to the pairs of animals that survived the Biblical flood.

4. Nature is slowly reclaiming the ruins of the empire, and although this is a sign of civilization's end, the architectural fragments have a melancholy beauty.

5. These ruins recall those that Cole sketched on his first trip to Europe (1829-32).

6. First seen being hunted in the Savage State, and then depicted in a frozen state in the frieze from Consummation, deer now freely roam the landscape.

7. The remnants of the frieze in the Doric temple of Consummationsignify that nature's cycles are more powerful than anything constructed by human hands, no matter how exquisite or refined.

Compare

• 1.Tower with Moonlight
• 2.Italian Coast Scene
• 3.Present

Thomas Cole, Tower with Moonlight, oil on canvas, c. 1838, 16 ¾ x 20 ½ in (with frame). Collection of David and Laura Grey. View in Virtual Gallery

William Cullen Bryant had warned Cole before the artist left on his first trip to Europe to "keep that earlier, wilder image bright." Yet the poet approved of the changes in Cole's style due to his experiences abroad: "While in Italy, the manner of Cole underwent a considerable change: a certain timid softness of manner,—in comparison I mean with his later style,—was laid aside for that free and robust boldness in imitating the effects of nature, which has ever since characterized his work." ¹ And although Cole often complained that he had trouble finding patrons for his ambitious allegorical series, the critical and popular response to The Course of Empire helped solidify his reputation as one of the country's most important painters. A patron, Philip Hone, saw an exhibition in 1833 of Cole's works after the artist's return from Europe and was moved to write in his diary, "I think every American is bound to prove his love of country by admiring Cole." ² No doubt encouraged by the success of his series, Cole subsequently produced many paintings of picturesque ruins in lonely landscapes that recall the melancholy solemnity of Desolation.

Process

This drawing from Cole's sketchbook shows his interest in the theme of human and natural history, a theme he explored throughout The Course of Empire. The composition of Ruins, or the Effects of Time is very similar to Desolation, and appears to be an early study for the finished work. Desolation contains the same prominent column as in this drawing,but in the painting it is covered with vines, added to symbolize nature in the process of reclaiming civilization. Noticeably absent from Desolationare the "remains of a human skeleton seen in an uncovered sarcophagus," ¹ which Cole noted in his description of the drawing and which can be seen in the sketch's foreground. In the final painting, any depiction of human remains has been eliminated in favor of woodland animals, which roam through the ruins. Cole apparently wanted to mute human tragedy in Desolation in order to emphasize the haunting beauty of nature's return. ²

Works

1. Thomas Cole, Ruins, or the Effects of Time, pencil on paper, c. 1832-3, 15 ½ x 9 ¼ in. Detroit Institute of Arts, Founder’s Society Purchase, William H. Murphy Fund, 39.559.43. View in Virtual Gallery

2. Thomas Cole, The Course of Empire: Desolation, oil on canvas, 1836, 39 ½ x 63 ½ in. Collection of The New-York Historical Society, 1858.5.

Words

In taking a wide view of the history of Art we may safely indulge in the cheering thought that her riches will be ever accumulating as she moves along. Nation after Nation, Age after Age will pour its tribute into her lap as she sits on the earth imperishable as Time himself. And although much of her treasure through the wreck of nations and the violence of man has been scattered and lost; yet man repents himself and digging among the ruins discovers many of her lost jewels, rejoices in the mutilated statue and the mouldering picture, and we inherit a priceless possession in laws and works from those who labored in the precincts of the Parthenon and the Halls of the Vatican. ¹

"The March of Time"
Hark! I heard the tread of Time
Marching o'er the fields sublime;
Through the portals of the past
When the stars by God were cast
O'er the illimitable vast.

Onward! Onward yet he strides
Nations clinging to his sides.
Kingdoms crushed he tramples o'er
Fame's shrill Trumpet—War's deep Roar
Blast-like rise—sound no more.

Lo! he nears as like a cloud;
That the trembling sea doth shroud,
Darkly folding every flower
Of our Life;—Love—Hope and Power:
See! He grasps the Present Hour!

Grasps it—it is withering
And it hangs a faded thing
In his girdle; seen no more
But by deeds that stud it o'er—
These shall mark it evermore.

On he passes, swift as fear;
Hides each faint and fleeting year
In his pinion's shadowy fold;—
All that sky and earth do hold:—
Things which man may not behold.

Lo! beneath his mantle dark
Grim, a spectre pallid stark
Clings around him like a sheath
Mighty! though devoid of breath
Throwing darts:—'Tis Death! 'Tis Death.

Stop the Ruffian Time! Lay hold!
Is there then no power so bold!
None to meet his strength midway—
Wrest from him his precious prey,
And the Tyrant-Robber slay.

Struggle not my foolish soul!
Let Time's garments round thee roll:
Time, God's servant, think no scorn,
Gathers up the sheaves of corn
Which the spectre Death hath shorn.

And anon shall one appear
Brighter than the Morning Star:
He shall smite that Spectre frore
Time shall, clasped by Death no more,
Take a new name—Evermore.
Catskill, 3 February 1846 ²

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