William Collins aritst
By Ken Zurski
In 1833, an Irish-born English artist named William Collins exhibited an oil on wood painting he appropriately titled, Rustic Civility. In the colorful image, three children are seen near a wooden gate that blocks the path of a dirt road. Collins shows the gate has been opened, presumably by the children. A boy is propped up against the open gate securing it’s place. Another smaller child cowers by the boy’s side. Yet another looks straight ahead from behind the gate.
But why and for whom did the children open the gate?
Well, that’s just a part of the painting’s mystique or as one art connoisseur wisely describes, “its puzzle.”
Upon closer inspection, however, the “puzzle” appears to be solved.
Most obvious is the shadow near the children’s feet. It is a partial outline of a horse and upon its back a rider in a brimmed hat. The children have opened the gate to make it easier for the rider, probably a stranger to them, to pass.
“People are amused at having to find out what is coming through the gate, which few do, till the shadow on the ground is pointed out to them,” the sixth Duke of Devonshire noted after buying the curious painting for his collection.
The work in some circles has been wrongly classified as a children’s picture. True, Collins would specialize in putting children in his paintings, but they were not specifically made for children. “Rustic” was part of his repertoire and a theme for several paintings including Rustic Hospitality, where friendly villagers welcome a wayward traveler who has stopped to rest near their cottage.
Today, most of Collins works are in London museums. His representations of English countryside charm in the early 19th century were very popular. Rustic Civility, however, seems to be remembered for a more significant and historical reasons. The young boy in the painting is holding his hand to his head in a gesture that closely resembles what we know today as a military salute.
A gesture not yet so easily defined at the time.
According to various sources, the origins of the hand salute goes back to medieval times when knights would salute one another by tipping their hats. Since their heads were covered with heavy and cumbersome armor, oftentimes they would just raise the visor in recognition.
In the Revolutionary War, British soldiers would remove or raise their hats in the presence of a ranking officer, an easy task since head gear at the time was used as decoration only and made of lighter material.
In subsequent wars, when soldier’s helmets became more protective the act of actually removing the head gear was too risky. A simple hand raise to the brow would suffice.
By the 20th century and during the two World Wars, saluting became more streamlined and distinctive, with the hands either palm out (the European version) or palm flat and down, the American preference.
Regardless of its history, Collins is credited at least with featuring a salute, albeit slyly, in his painting Rustic Civility. The boy appears to be “tugging his forelock,” an old-worldly expression of high regard and a gesture that suggests an early incarnation of the modern day hand to forehead signal.
This inclination of course is a matter of opinion. Perhaps, as others might suggest, the boy is just shading his eyes. After all, the location of the shadowed horse and rider puts the perspective of the sun’s light directly in the boy’s path. However, in close up, it does appear as though the boy is grabbing a lock of hair.
This clearly supports the salute theory.
Unfortunately, by the time any serious debate was raised, Collins, the artist, was dead.
So in historical context, let’s give the painter his due: To open a wooden gate while on horseback is a difficult thing to do. The children helped the man by opening the gate. The boy then saluted in deference – or civility as the title suggests.
A sign of a respect for an elder in need, Collins likely implied.
And respect is what the “salute” stands for today.