Chapter L: DA VINCI The Last Supper Milan 290 (6)

At the end of the larger sacristy is the lunette which once decorated the tomb of the Doge Francesco Dandolo, and, at the side of it, one of the most highly finished Tintoret's in Venice, namely: _The Marriage in Cana_. An immense picture, some twenty-five feet long by fifteen high, and said by Lazari to be one of the few which Tintoret signed with his name. I am not surprised at his having done so in this case. Evidently the work has been a favourite with him, and he has taken as much pains as it was ever necessary for his colossal strength to take with anything. The subject is not one which admits of much singularity or energy in composition. It was always a favourite one with Veronese, because it gave dramatic interest to figures in gay costumes and of cheerful countenances; but one is surprised to find Tintoret, whose tone of mind was always grave, and who did not like to make a picture out of brocades and diadems, throwing his whole strength into the conception of a marriage feast; but so it is, and there are assuredly no female heads in any of his pictures in Venice elaborated so far as those which here form the central light. Neither is it often that the works of this mighty master conform themselves to any of the rules acted upon by ordinary painters; but in this instance the popular laws have been observed, and an academy student would be delighted to see with what severity the principal light is arranged in a central mass, which is divided and made more brilliant by a vigorous piece of shadow thrust into the midst of it, and which dies away in lesser fragments and sparkling towards the extremities of the picture. This mass of light is as interesting by its composition as by its intensity. The cicerone who escorts the stranger round the sacristy in the course of five minutes and allows him some forty seconds for the contemplation of a picture which the study of six months would not entirely fathom, directs his attention very carefully to the "bell' effetto di prospettivo," the whole merit of the picture being, in the eyes of the intelligent public, that there is a long table in it, one end of which looks further off than the other; but there is more in the "bell' effetto di prospettivo" than the observance of the common law of optics. The table is set in a spacious chamber, of which the windows at the end let in the light from the horizon, and those in the side wall the intense blue of an Eastern sky. The spectator looks all along the table, at the farther end of which are seated Christ and the Madonna, the marriage guests on each side of it,--on one side men, on the other women; the men are set with their backs to the light, which passing over their heads and glancing slightly on the table-cloth, falls in full length along the line of young Venetian women, who thus fill the whole centre of the picture with one broad sunbeam, made up of fair faces and golden hair. Close to the spectator a woman has risen in amazement, and stretches across the table to show the wine in her cup to those opposite; her dark red dress intercepts and enhances the mass of gathered light. It is rather curious, considering the subject of the picture, that one cannot distinguish either the bride or the bride-groom; but the fourth figure from the Madonna in the line of women, who wears a white head-dress of lace and rich chains of pearls in her hair, may well be accepted for the former, and I think that between her and the woman on the Madonna's left hand the unity of the line of women is intercepted by a male figure: be this as it may, this fourth female face is the most beautiful, as far as I recollect, that occurs in the works of the painter, with the exception only of the Madonna in the _Flight into Egypt_. It is an ideal which occurs indeed elsewhere in many of his works, a face at once dark and delicate, the Italian cast of feature moulded with the softness and childishness of English beauty some half a century ago; but I have never seen the ideal so completely worked out by the master. The face may best be described as one of the purest and softest of Stothard's conceptions, executed with all the strength of Tintoret. The other women are all made inferior to this one, but there are beautiful profiles and bendings of breasts and necks along the whole line. The men are all subordinate, though there are interesting portraits among them; perhaps the only fault of the picture being that the faces are a little too conspicuous, seen like balls of light among the crowd of minor figures which fill the background of the picture. The tone of the whole is sober and majestic in the highest degree; the dresses are all broad masses of colour, and the only parts of the picture which lay claim to the expression of wealth or splendour are the head-dresses of the women. In this respect the conception of the scene differs widely from that of Veronese, and approaches more nearly to the probable truth. Still the marriage is not an important one; an immense crowd, filling the background, forming superbly rich mosaic of colour against the distant sky. Taken as a whole the picture is perhaps the most perfect example which human art has produced of the utmost possible force and sharpness of shadow united with richness of local colour. In all the other works of Tintoret, and much more of other colourists, either the light and shade or the local colour is predominant; in the one case the picture has a tendency to look as if painted by candle-light, in the other it becomes daringly conventional, and approaches the conditions of glass-painting. This picture unites colour as rich as Titian's with light and shade as forcible as Rembrandt's, and far more decisive.

There are one or two other interesting pictures of the early Venetian school in this sacristy, and several important tombs in the adjoining cloister; among which that of Francesco Dandolo, transported here from the Church of the Frari, deserves especial attention.

_Stones of Venice_ (London, 1853).

MADAME DE POMPADOUR

(_DE LA TOUR_)

CHARLES-AUGUSTIN SAINTE-BEUVE

Madame de Pompadour was not exactly a _grisette_, as her enemies affected to say and as Voltaire has said in a malicious moment: she was a _bourgeoise_, a blossom of finance, the most lovely woman in Paris, witty, elegant, adorned with a thousand gifts and a thousand talents, but with a way of feeling that did not have the grandeur and coldness of an aristocratic ambition. She loved the King for his own sake, as the handsomest man in his realm, as the one who had seemed the most amiable to her; she loved him sincerely, sentimentally, if not with a profound passion. On her arrival at court, her ideal would have been to amuse him with a thousand entertainments borrowed from the arts, or even from matters of the intellect, to make him happy and constant in a circle of varied enchantments and pleasures. A Watteau landscape, sports, comedies, pastorals in the shade, a continual Embarkation for Cythera, that would have been the round she would have preferred. But once transported into the slippery enclosure of the court, she could realize her ideal very imperfectly. Kind and obliging by nature, she had to take up arms to defend herself against enmity and perfidy and to take the offensive to avoid being overthrown; necessity led her into politics and induced her to make herself Minister of State.

She loved the arts and intellectual things far above the comprehension of any of the ladies of quality. On her arrival at her eminent and dishonourable post--much more dishonourable than she thought--she at first only thought of herself as destined to aid, to call to her side, and to encourage struggling merit and men of talent of all kinds. This is her sole glory, her best title, and her best excuse. She did her best to advance Voltaire and to make him agreeable to Louis XV., whom the petulant poet so strongly repelled by the vivacity and even the familiarity of his praises. She thought she had found a genius in Crébillon and honoured him accordingly. She showed favour to Gresset; she protected Marmontel; she welcomed Duclos; she admired Montesquieu and plainly showed it. She would have liked to serve Jean-Jacques Rousseau. When the King of Prussia ostentatiously gave d'Alembert a modest pension and Louis XV. was scoffing in her presence at the amount (1200 livres), in comparison with the term _sublime genius_, for which it was given, she advised him to forbid the philosopher to accept it and to double it himself; which Louis XV. did not dare to do; his religious principles would not permit it on account of the _Encyclopédie_. It was not her fault that we cannot say _the century of Louis XV._, as we say _the century of Louis XIV_.

There are then in the career and power of Madame de Pompadour two distinct periods: the first, the most brilliant and most greatly favoured, was that following the peace of Aix-la-Chapelle (1748): in this, she completely played her rôle of a youthful favourite, fond of peace, the arts, the pleasures of the mind, and advising and protecting all things happily. There was a second period, greatly checkered, but more frequently disastrous and fatal; this was the whole period of the Seven Years' War, the attempted assassination by Damiens, the defeat of Rosbach, and the insults of the victorious Frederick. These were harsh years which prematurely aged this weak and graceful woman, who was drawn into a struggle beyond her strength.... However, my impression is that things might have been worse, and that, with the aid of M. de Choiseul, by means of the Family Compact she again covered her own mistakes and the humiliation of the French monarchy with a certain amount of prestige.

It seems that the nation itself felt this and felt more especially that after this brilliant favourite there would be a greater fall; for when she died at Versailles, April 15, 1764, the regret of the Parisian populace, which some years before would have stoned her, was universal....

The one who seemed to regret her the least was Louis XV.; it is related that seeing from a window the hearse on its way from Versailles to Paris, the weather being dreadful, he only said:

"The Marquise will not have very fine weather for her journey."

All the masters of the French school of her time painted a portrait of Madame de Pompadour: we have one by Boucher, and another by Drouais which Grimm preferred to all others; but the most admirable of all is certainly La Tour's pastel owned by the Louvre. To this we go in order to see _la marquise_ before we allow ourselves to judge of her, or to form the least idea of her personality.

She is represented as seated in an arm-chair, holding in one hand a book of music, and with her left arm resting on a marble table on which are placed a globe and several volumes. The largest one of these books, which is next to the globe, is Volume IV. of the _Encyclopédie_; next to it in a row are the volumes of _L'Esprit des Lois_, _La Henriade_, and _Pastor Fido_, indicative of the tastes at once serious and sentimental of the queen of this spot. Upon the table also and at the base of the globe is seen a blue book upside down, its cover is inscribed: _Pierres gravées_; this is her work. Underneath it and hanging down over the table is a print representing an engraver of precious stones at work with these words: _Pompadour sculpsit_. On the floor, by the foot of the table, is a portfolio marked with her arms and containing engravings and drawings; we have here a complete trophy. In the background, between the feet of the consol-table, is seen a vase of Japanese porcelain: why not of Sèvres? Behind her arm-chair and on the side of the room opposite the table is another arm-chair, or an ottoman, on which lies a guitar. But it is the person herself who is in every respect marvellous in her extreme delicacy, gracious dignity, and exquisite beauty. Holding her music-book in her hand lightly and carelessly, her attention is suddenly called away from it; she seems to have heard a noise and turns her head. Is it indeed the King who has arrived and is about to enter? She seems to be expecting him with certainty and to be listening with a smile. Her head, thus turned aside, reveals the outline of the neck in all its grace, and her very short but deliciously-waved hair is arranged in rows of little curls, the blonde tint of which may be divined beneath the slight covering of powder. The head stands out against a light-blue background, which in general dominates the whole picture. Everything satisfies and delights the eye; it is a melody, perhaps, rather than a harmony. A bluish light, sifting downwards, falls across every object. There is nothing in this enchanted boudoir which does not seem to pay court to the goddess,--nothing, not even _L'Esprit des Lois_ and _L'Encyclopédie_. The flowered satin robe makes way along the undulations of the breast for several rows of those bows, which were called, I believe, _parfaits contentements_, and which are of a very pale lilac. Her own flesh-tints and complexion are of a white lilac, delicately azured. That breast, those ribbons, and that robe--all blend together harmoniously, or rather lovingly. Beauty shines in all its brilliance and in full bloom. The face is still young; the temples have preserved their youth and freshness; the lips are also still fresh and have not yet withered as they are said to have become from having been too frequently puckered or bitten in repressing anger and insults. Everything in the countenance and in the attitude expresses grace, supreme taste, and affability and amenity rather than sweetness, a queenly air which she had to assume but which sits naturally upon her and is sustained without too much effort. I might continue and describe many lovely details, but I prefer to stop and send the curious to the model itself: there they will find a thousand things that I scarcely dare to touch upon.

Such in her best days was this ravishing, ambitious, frail, but sincere woman, who in her elevation remained good, faithful (I love to believe) in her sin, obliging, so far as she could be, but vindictive when driven to it; who was quite one of her own sex after all, and, finally, whose intimate life her lady-in-waiting has been able to show us without being too heavy or crushing a witness against her.

In spite of everything, she was exactly the mistress to suit this reign, the only one who could have succeeded in turning it to account in the sense of opinion, the only one who could lessen the crying discord between the least literary of kings and the most literary of epochs. If the Abbé Galiani, in a curious page, loudly preferring the age of Louis XV. to that of Louis XIV., has been able to say of this age of the human mind so fertile in results: "Such another reign will not be met with anywhere for a long time," Mme. de Pompadour certainly contributed to this to some extent. This graceful woman rejuvenated the court by bringing into it the vivacity of her thoroughly French tastes, tastes that were Parisian. As mistress and friend of the Prince, as protectress of the arts, her mind found itself entirely on a level with her rôle and her rank: as a politician, she bent, she did ill, but perhaps not worse than any other favourite in her place would have done at that period when a real statesman was wanting among us.

When she found herself dying after a reign of nineteen years; when at the age of forty-two years she had to leave these palaces, these riches, these marvels of art she had amassed, this power so envied and disputed, but which she kept entirely in her own hands to her last day, she did not say with a sigh, like Mazarin, "So I must leave all this!" She faced death with a firm glance, and as the _curé_ of the Madeleine, who had come to visit her at Versailles, was about to depart, she said: "Wait a moment, _Monsieur le Curé_, we will go together."

Madame de Pompadour may be considered the last in date of the Kings' mistresses who were worthy of the name: after her it would be impossible to descend and enter with any decency into the history of the Du Barry. The kings and emperors who have succeeded in France, from that day to this, have been either too virtuous, or too despotic, or too gouty, or too repentant, or too much the paterfamilias, to allow themselves such useless luxuries: at the utmost, only a few vestiges have been observable. The race of Kings' mistresses, therefore, may be said to be greatly interrupted, even if not ended, and Mme. de Pompadour stands before our eyes in history as the last as well as the most brilliant of all.[19]

_Causeries de Lundi_ (Paris, 1851-57), Vol. II.

FOOTNOTES:

[19] Here is an exact statement of the civil register of the State relating to Mme. de Pompadour: Jeanne-Antoinette Poisson, marquise de Pompadour, born in Paris, Dec. 29, 1721 (Saint-Eustache);--married March 9, 1741, to Charles-Guillaume Lenormant, seigneur d'Étioles (Saint-Eustache); died April 15, 1764; interred on the 17th at the Capucines de la place Vendôme. Her parish in Paris was la Madeleine; her hôtel, in the Faubourg Saint-Honoré, now l'Élysée.

M. Le Roi, librarian of Versailles, has published, after an authentic manuscript the _Relevé des dépenses de Mme. de Pompadour depuis la première année de sa faveur jusqu'à sa mort_. This statement, which mentions the sums and their uses, presents a complete picture of the marquise's varied tastes, and does not try too much to dishonour her memory.

THE HAY WAIN

(_CONSTABLE_)

C.L. BURNS

A little strip of country on the borders of Essex and Suffolk, not ten miles in length, and but two or three in breadth, presenting to the casual observer few features more striking than are to be seen in many other parts of England, but hailed with delight by painters for its simple charm, has exercised a wider influence upon modern landscape painting than all the noble scenery of Switzerland or the glories of Italy; for here was nurtured that last and greatest master of that school of English landscape painting, which made the Eastern Counties famous in the annals of art. He was so essentially English, it might be said local, in his feeling, that he never left his country, and produced his greatest works within the narrow limits of his native valley; in whom love of locality was indeed the very basis of his art.

Constable, for it was he, like Rembrandt, was the son of a miller, and was born at a time when the winds and flowing waters were powers in the land, bearing a golden harvest on their health-giving and invisible currents, turning sails upon countless hill-tops, and wheels in every river--before the supplanter, steam, was even dreamed of. His earliest recollections were mingled with the busy clatter of wheels, and the whirr of sails, as they sped round before the wind, was the music of his boyhood. His father, good man of the world as he was, holding a high opinion of the solid comforts gained by following his own profitable calling, placed his son, at the age of seventeen, in charge of a windmill, hoping thereby to curb his rising enthusiasm for the more glorious but less substantial pursuit of art. Alas! how little can we predict the effect of our actions. This one, framed to divert his purpose in life, was the very means of leading him to study more closely the ever-varying beauties of the sky, with its matchless combinations of form and colour, and all the subtle differences of atmosphere, which in after-life formed a distinctive feature in his work; and, for a landscape-painter, perhaps no early training could have been better. His daily occupation by bringing him continually face to face with Nature, and necessitating a constant observance of all her changing phenomena, trained his heart and eye to discover her secrets, hidden from the careless, but revealed to all true lovers of her wisdom.

The effect upon a temperament so artistic as Constable's was as permanent as it was quickly apparent. In less than a year we find his father reluctantly converted to his son's views in the choice of a career, and consenting to his sojourn in London, to learn the principles and technicalities of his profession, which he soon strove to forget and subsequently set at defiance. Two years of studio work was sufficient to convince him that his school was the open air; and in his own country, amid the scenes of his boyhood, he could shake off the chains of fashion, which bound the landscape-painter of that day, and go straight to nature for his inspiration. Concerning this he writes: "For the last two years I have been running after pictures, and seeing truth at second-hand. I have not endeavoured to represent nature with the same elevation of mind with which I set out, but have rather tried to make my performances look like the work of other men; I shall return to Bergholt, where I shall get a pure and unaffected manner of representing the scenes which may employ me--there is room for a _natural_ painter;" a prediction which was hardly fulfilled in his lifetime, for, with the majority of even intelligent lovers of art, his works were rarely understood and never popular, though the appreciative sympathy of an enlightened few kept him from despair. But, appreciated or not, he had found his life's work, and henceforth his mission was to depict the scenes around his old home, and to express the love he felt so keenly for "every stile and stump, and every lane in dear Bergholt."

"Painting," he writes, "is with me but another word for feeling, and I associate my careless boyhood with all that lies on the banks of the Stour--those scenes made me a painter, and I am grateful."

How lovingly he repaid this debt of gratitude to his native valley will be seen by the tender care he bestowed in depicting its beauties; indeed, the strongest impression produced after visiting Constable's country and again turning to a study of his works, is the marvellous sense of locality he has embodied in them. You seem to breathe the very air of Suffolk and hear again the "sound of water escaping from mill-dams," and see once more "the willows, the old rotten planks, the slimy posts, and brickwork," he delighted in. In spite of the fifty years which have elapsed since he laid aside his brush for ever, with all the accidents of time and season, the subjects he painted are still to be easily found, and clearly distinguished by anyone at all acquainted with his works. The only exception is in the original of the famous _Cornfield_, now in the National Gallery. Here the enemy has been busy, and by the aid of his children Growth and Decay, has succeeded in transforming the subject out of all recognition, tearing down the trees on the left, enlarging the group on the right, shutting out the view of Stratford Church, and choking up the brook from which the boy is drinking. Nor has Time been idle with this same boy, who six years ago, was carried to his last resting-place in Bergholt Churchyard, aged sixty-five....

It is not, however, in Bergholt village that we must seek for the scenes which made Constable a painter, but down in the quiet hollow a mile and a half to the eastward on the banks of his much-loved Stour, and around the paternal mill of Flatford, not improved as is the one at Dedham into hideousness, but remaining much as it was in the artist's day. Both mills were the property of Golding Constable, witnessed thereto in the latter, the initials G.C., carved in irregular characters deep in the huge mill scales, still legible beneath the dust of a century, as enduring almost as the memory of his gifted son.

A low uneven structure is Flatford Mill, with many gables and queer outbuildings; standing on an island, the millhouse backing the main stream and facing a pool formed by the mill-tail, which, flowing through the mill, rejoins the main stream a hundred yards below. To this spot came Constable many a hundred times, we may be sure, fishing in the stream, or sketching with his close ally, John Dunthorne, the village plumber, and a lover of nature; their performances with the brush doubtless puzzling old Willy Lott--whose farmhouse occupies the opposite side of the pool; but though his judgment might not have been so technically sound upon art matters as upon the merits of those hornless Suffolk cattle, said to have been unconsciously introduced by Constable into pictures painted in far distant countries, yet his criticisms would have been worth hearing by virtue of their originality. Willy cared but little for the outer world and its mode of thinking, any curiosity he may have ever had concerning it being amply satisfied by the experiences of four nights, separated by long intervals, spent away from his ancestral roof in four-score years. That this house of his possessed a peculiar fascination for Constable is evident from its forming an important feature in two of his best known works, the _Hay Wain_ and the _Valley Farm_, besides appearing in numerous sketches.

Every foot of ground round the old mill seems to have imparted a yearning in him to paint it. The lock in the main stream, with its tide of life passing through, busier then than in these days of railways; the bridge above, with the picturesque cottages still standing, all were lingered over, studied, and painted with an affection inspired by the recollection of those golden hours of his boyhood. Here, doubtless, was the scene of those stolen interviews with his future wife, following the ecclesiastical ban placed on his suit by the lady's grandfather, Dr. Rhudde, the Rector, whose belief in the preordination of marriage was tempered in this case by a wise discretion on the subject of settlements. To the young painter's inability to satisfy this scruple may be attributed the Doctor's discouragement of any practical application of the theory. The marriage duly took place despite the old gentleman, who, although not apparently reconciled during the remainder of his life, pleasantly surprised the young couple by leaving his granddaughter four thousand pounds when he died.

The mill-tail is used as a thoroughfare, up which the hay is carted, from the meadows on the opposite bank of the river, a shallow and stony bedded back-water meeting it at its junction with the main stream. Down this back-water in July the heavy cart-horses drag the sweet-scented haywains knee deep and axle deep in water, leaving feathery wisps of hay hanging from the willows, and clinging to the tall rushes upon either hand, the waggoner bravely astride the leader, while haymakers and children are seated on top of the load, not a little nervous in mid-stream, and clinging tightly when the horses are struggling up the deep ascent into the stack-yard.

A contrast, indeed, is the bustle of the hay-making with the splash of the teams and the merry voices of the children to the solitude which reigns supreme in this silent, currentless backwater during the rest of the year. Winding between the long flat meadows away from the traffic of the river it becomes in early summer a veritable museum of aquatic plants: lilies choke its passage, and the ancient gates, giving access to the adjoining fields, lie lost in creamy meadow-sweet, their sodden and decaying posts wreathed in sweet forget-me-nots, while sword-like rushes rear their points till they part the grey-green willow leaves above. The silence would become oppressive were it not for an indistinct murmur from the working world, which forms a fitful background to the prevailing stillness; the distant roar of a train as it rushes on its journey to the palpitating heart of London, the faint sound of a mowing machine in the meadows, or the crack of a whip up the tow-path as a barge moves up to the primitive lock, add a touch of human interest without disturbing the sense of restfulness from the eager hurry of Nineteenth Century existence....

Constable's country may be said to extend along the Stour valley, anywhere within walking distance of his home, Neyland, Stoke, Langham, Stratford, and in the opposite direction, Harwich, all having furnished material for his fruitful pencil. But, despite much admirable work done in each of these places, it was to the few acres of river and meadow round the old mill at Flatford that he owed his first awakening to the wonders of nature around him. To these, his first and truest masters, his memory was ever turning for inspiration; and during the life-long battle he waged with all that was untrue, he was certain of finding there encouragement to victory and solace in disappointment.

_Magazine of Art_ (1891).

THE SURRENDER OF BREDA

(_VELASQUEZ_)

THÉOPHILE GAUTIER

_The Surrender of Breda_, better known under the name of _Las Lanzas_, mingles in the most exact proportion realism and grandeur. Truth pushed to the point of portraiture does not diminish in the slightest degree the dignity of the historical style.

A vast and spacious sky full of light and vapour, richly laid in with pure ultramarine, mingles its azure with the blue distances of an immense landscape where sheets of water gleam with silver. Here and there incendiary smoke ascends from the ground in fantastic wreaths and joins the clouds of the sky. In the foreground on each side, a numerous group is massed: here the Flemish troops, there the Spanish troops, leaving for the interview between the vanquished and victorious generals an open space which Velasquez has made a luminous opening with a glimpse of the distance where the glitter of the regiments and standards is indicated by a few masterly touches.

The Marquis of Spinola, bareheaded with hat and staff of command in hand, in his black armour damascened with gold, welcomes with a chivalrous courtesy that is affable and almost affectionate, as is customary between enemies who are generous and worthy of mutual esteem, the Governor of Breda, who is bowing and offering him the keys of the city in an attitude of noble humiliation.

Flags quartered with white and blue, their folds agitated by the wind, break in the happiest manner the straight lines of the lances held upright by the Spaniards. The horse of the Marquis, represented almost foreshortened from the rear and with its head turned, is a skilful invention to tone down military symmetry, so unfavourable to painting.

It would not be easy to convey in words the chivalric pride and the Spanish grandeur which distinguish the heads of the officers forming the General's staff. They express the calm joy of triumph, tranquil pride of race, and familiarity with great events. These personages would have no need to bring proofs for their admittance into the orders of Santiago and Calatrava. Their bearing would admit them, so unmistakably are they hidalgos. Their long hair, their turned-up moustaches, their pointed beards, their steel gorgets, their corselets or their buff doublets render them in advance ancestral portraits to hang up, with their arms blazoned on the corner of the canvas, in the galleries of old castles. No one has known so well as Velasquez how to paint the gentleman with such superb familiarity, and, so to speak, as equal to equal. He is by no means a poor, embarrassed artist who only sees his models while they are posing and has never lived with them. He follows them in the privacy of the royal apartments, on great hunting-parties, and in ceremonies of pomp. He knows their bearing, their gestures, their attitudes, and their physiognomy; he himself is one of the King's favourites (_privados del rey_). Like themselves, and even more than they, he has _les grandes et les petites entrées_.[20] The nobility of Spain having Velasquez for a portrait-painter could not say, like the lion of the fable: "Ah! if the lions only knew how to paint."

Velasquez takes his place naturally between Titian and Van Dyck as a painter of portraits. His colour is solidly and profoundly harmonious, without any false luxury and with no need of glitter. His magnificence is that of ancient hereditary fortunes. It has tranquillity, equality, and intimacy. We find no violent reds, greens, nor blues, no upstart glitter, no brilliant gew-gaws. All is restrained and subdued, but with a warm tone like that of old gold, or with a grey tone like the dead sheen of family silver. Gaudy and loud things will do for upstarts, but Don Diego Velasquez de Silva is too true a gentleman to make himself an object of remark in that manner, and, let us say, too good a painter also. Although a realist, he brings to his art a lofty grandeur, a disdain of useless detail, and an intentional sacrifice that plainly reveal the sovereign master. These sacrifices were not always those that another painter would have made. Velasquez chose to put in evidence what, it sometimes seems, should have been left in shadow. He extinguishes and he illuminates with apparent caprice, but the effect always justifies him.

The correctness of his eye was such that while he only pretended to be copying, he brought the soul to the surface and painted the inner and the outer man at the same time. His portraits relate the secret _Mémoires_ of the Spanish court better than all the chroniclers. Let him represent them in gala dress, riding their genets, in hunting-costume, an arquebuse in their hand, a greyhound at their feet, and we recognize in these wan figures of kings, queens, and infantas, with pale faces, red lips, and massive chins the degeneracy of Charles V. and the falling away of exhausted dynasties. Although a court-painter, he has not flattered his royal models. However, despite the brainlessness of the type, the quality of these high personages would never be doubted. It is not that he did not know how to paint genius; the portrait of the Count-Duke of Olivares, so noble, so imperious, and so full of authority, unanswerably proves that, unable to lend any fire to these sad lords, he gives them a cold majesty, a wearied dignity, a gesture and pose of etiquette, and then envelops all with his magnificent colour; that was full payment for the protection of his crowned friend. M. Paul de Saint-Victor has somewhere called Victor Hugo "The Spanish Grandee of poetry;" may we not be permitted to call Velasquez "The Spanish Grandee of painting"? No qualification would suit him better.

As we have said, Velasquez was Court Chamberlain, and it was he who was charged with the preparation of the lodgings of the King in the trip that Philip IV. made to Irun to deliver the Infanta Doña Maria-Teresa to the King of France. It was he who had decorated and ornamented the pavilion where the interview of the two kings took place in the Île des Faisans. Velasquez was distinguished among the crowd of courtiers by his personal dignity, the elegance, the richness, and the good taste of his costumes on which he arranged with art the diamonds and jewels,--gifts of the sovereigns; but on his return to Madrid, he fell ill with fatigue and died on the 7th of August, 1660. His widow, Doña Juana Pacheco, only survived him seven days and was interred near him in the parish of San Juan. The funeral of Velasquez was splendid; great personages, knights of the military orders, the King's household, and the artists were present sad and pensive, as if they felt that with Velasquez they were interring Spanish art.

_Guide de l'Amateur au Musée du Louvre_ (Paris, 1882).

FOOTNOTES:

[20] Private audiences of the King.

THE IMMACULATE CONCEPTION

(_MURILLO_)

AIMÉ GIRON

After her 3,700 battles with the Moors and the conquest of Granada, Spain had a splendid outburst of literary and artistic glory. In painting, the four schools of Valencia, Toledo, Madrid, and Seville suddenly shone forth with that conception of the real and that care for sharp relief which they owed to the brilliancy of their sunshine, while amid the fogs of the North the outline is more wavering and the vision less clear. Under the influence of this original realism, their works instinctively reproduced that two-fold character which the land of Spain, smiling in her valleys and savage in her mountains, shows in sharp contrast. But the Spaniards are, in truth, much more realistic in their execution than in their inspiration.

The school of Seville, founded by Luis de Vargas, counted among its illustrious masters the greatest painter of that sunlit and passionate Andalusia, Murillo (Bartolomé-Estéban), 1617-1682, Spain's most popular painter, "the painter of the Conceptions," as she called him.

His uncle, Juan del Castillo, a mediocre artist but a good teacher, initiated him into his dry, stiff, and hard manner,--that of the old Florentine school. In his studio young Estéban Murillo had young Pedro de Moya as a fellow-student. One day the former took a fancy to go to Cadiz, where, miserable enough, he painted on pieces of serge some Madonnas for traffic in the West Indies, while the latter went to London to work in Van Dyck's studio. On his return Pedro de Moya brought several studies of the Flemish master, and Murillo, suddenly revolutionized and suddenly illuminated, no longer dreamed of anything but of going to Flanders or Italy, passing--happily--through Madrid. In Madrid, the Velasquez of the Court of Charles II. stopped him on the way, gave him admission to the royal collections, where he copied Titian, Veronese, and Rubens, and then opened his purse to him, and, lastly, revealed the secrets of his mighty art.

Thus taught and thus inspired, Murillo returned to Seville, where he settled once for all, immuring himself in his studio, where--modest, timid, and gentle--he lived with that single love for his art which soon enriched him, two years later adding to it the adoration of his wife, a noble lady of Pilas. It was from this studio that almost all of his laborious, numerous, and superb works issued, sometimes scarcely signed. From the very beginning, Murillo possessed all the qualities of a great master, and henceforth we have only to separate his own personality and originality.

Murillo had three periods, as he also had three styles according to the nature of the subjects he had to treat: the first period, under the influence of the Florentine formulas of Juan del Castillo, was somewhat that of happy and masterly imitations; the second, under the memories of Van Dyck, brought back by Pedro de Moya and of the copies painted at Madrid, belongs to the Flemish school. But, at thirty-five, in full possession of his genius, he reveals _himself_, with his superb colouring, his consummate ease, his great science, his rich and inexhaustible imagination, his exquisite and tender sentiment, and his harmony, often produced with feminine delicacy and childish grace, with his vigour, his trivialities, and his mysticism.

The genius of Murillo, in fact, obeyed a double current, which carried him forward, on the one hand towards the sky, and on the other towards the earth, towards the Catholic ideal or towards vulgar realities, gentle Madonnas alternately with knavish beggars. Very sincerely and observantly religious, with the contemplative soul of the land of great men and great mysteries, Saint John of the Cross and Saint Theresa, this chaste artist, who never painted a nude woman, has the exalted sentiment of faith of the Spanish artists, a sentiment which is somewhat ennobled by their realism of nature.

"Why don't you finish that Christ?" asked one of his friends.

"I am waiting until he comes to speak to me," replied Murillo.

With these works he enriched the chapter-house of the Seville Cathedral, the Hospital de la Caridad, that of the Hospital de los Venerables, the convents of the Capuchins, the Augustines, etc.

I have said that Murillo had three styles, almost three pencils, not like the pencils of gold, of silver, and of iron that the Venetians attributed to the unequal genius of Tintoret, but in sympathy with the subjects he had to treat. The Spaniards have distinguished and qualified these styles as follows: _Frio, calido y vaporoso_, cold, warm, and vaporous.

In the cold style he painted broadly, boldly, and frankly his beggars and his _muchachos_, so true to life and in strong relief, with a certain brutality almost approaching triviality. A very well-known work of this kind is the _Pouilleux_ in the Museum of the Louvre, and a masterpiece in the Pinacothek of Munich, the Grandmother and Infant. He sought these types in some old Moorish dwelling, on the deck of a ship from Tunis or Tripoli anchored in a Spanish harbour, or in among a band of wandering _Gitanos_ on the banks of the Guadalquivir.

In the vaporous manner, which he used in rendering the ecstasies of the saints, he painted (under indescribable transparencies of light and atmospheric shade which is really only extinguished light), _Saint Francis in Ecstasy_, _The Angel Kitchen_ (Miracle of San Diego) running through several scales of tones in a marvellous chord and softening all the outlines "dulcemente perdidos," as Céan Bermudez says.

In his warm style, come his _Annunciations_, _Conceptions_, and all those gentle and graceful Madonnas, sweet and poetic young mothers rather than divine Virgins "whom Jews might kiss and Infidels adore," as Pope says, and which remind us of Correggio's effeminacy, unknown to Murillo, and in which he plays with ease with harmonies, contrasts, and reflections of colour.

_The Immaculate Conception_, in the National Museum of the Louvre, is of this style. Certainly it is not more beautiful than the _Conception_ in Madrid, of such extraordinary brilliance, and of such a virginal expression of innocence, piety, and melancholy; and above all not more beautiful than that of Seville--_The Great Conception_, or the _Pearl of Conceptions_, making the Virgin Mother's face into a beautiful and intense face of an archangel. That had its day of resounding triumph.

Every one knows that Marshal Soult accepted this work in Spain for the pardon of two monks condemned to be hanged as spies. On the 29th of May, 1852, this canvas was sold at auction. Around it the greatest nations were represented with their rival gold, and loud applause accompanied each royal bid. When, for the sum of 615,300 francs, it was knocked down--"To France, gentlemen!" cried the Count de Nieuwerkerke--then broke forth the delirium of a battle won.

In a diaphanous atmosphere gilded with an invisible clearness as of Paradise, the winged heads and bodies of little angels are moving: the former gracefully grouped, the latter boldly and skilfully disposed. The celestial infants have followed all the way to the earth the rays of celestial light in its elusive gradations of colour under its imperceptible glazing. In the centre, in the act of ascent, the Virgin rises in ecstasy. One corner of a cloud, the crescent moon, and a masterly group of little angels, naked and enraptured, bear the Immaculate aloft. Gracefully and statuesquely posed, and broadly draped in a white robe with sober folds enriched by an ample scarf of light blue, she modestly hides her feet under the drapery and chastely crosses her hands over the breast in which she feels the conception of the Son of God operating. Her head under its dishevelled waves of black hair, a little turned back and bending slightly to one side, is raised to heaven with uplifted eyes and open mouth, as if to receive in every sense the flow of the spirit. The face, in the exquisite sweetness of a surrender to piety, reflects the bliss of Faith, of mystical voluptuousness, and divine ecstasy. The expression is religious, but the Virgin is human, and full of life in the firmness of her lines and the warmth of her flesh-tints. Beneath the suppleness of the drawing and the soft touches we recognize in Mary the Immaculate, the woman and even the Andalusian.

The whole work is a most harmonious and well-balanced composition, of the greatest opulence of colour, solidly laid in, and here and there lightly glazed over in the Venetian manner; a superb work this, in which Murillo has found the right point where his idealism and his materialism meet and mingle.

If I remember rightly, we know one hundred and thirty canvases of Murillo, to any one of which our admiration hesitates to award the pre-eminence,--and if the crown of laurels which a Pope laid upon the funeral couch of Raphael is the consecration of the sovereignty of the painter of Urbino for History, the universally popular name of Murillo has also sanctified the incontestable genius of the painter of Seville.

Jouin, _Chefs-d'oeuvre: Peinture, Sculpture Architecture_
(Paris, 1895-97).

ST. FRANCIS BEFORE THE SOLDAN

(_GIOTTO_)

JOHN RUSKIN

It is a characteristic--(as far as I know, quite a universal one)--of the great masters, that they never expect you to look at them;--seem always rather surprised if you want to; and not overpleased. Tell them you are going to hang their picture at the upper end of the table at the next great City dinner, and that Mr. So-and-So will make a speech about it;--you produce no impression upon them whatever, or an unfavourable one. The chances are ten to one they send you the most rubbishy thing they can find in their lumber-room. But send for one of them in a hurry, and tell him the rats have gnawed a nasty hole behind the parlour door, and you want it plastered and painted over;--and he does you a masterpiece which the world will peep behind your door to look at for ever.

I have no time to tell you why this is so; nor do I know why, altogether, but so it is.

Giotto, then, is sent for, to paint this high chapel: I am not sure if he chose his own subjects from the life of St. Francis: I think so,--but of course can't reason on the guess securely. At all events, he would have much of his own way in the matter.

Now you must observe that painting a Gothic chapel rightly is just the same thing as painting a Greek vase rightly. The chapel is merely the vase turned upside-down, and outside-in. The principles of decoration are exactly the same. Your decoration is to be proportioned to the size of your vase; to be together delightful when you look at the cup, or chapel, as a whole; to be various and entertaining when you turn the cup round; (you turn _yourself_ round in the chapel;) and to bend its heads and necks of figures about, as best it can, over the hollows, and ins and outs, so that anyhow, whether too long or too short--possible or impossible--they may be living, and full of grace. You will also please take it on my word to-day--in another morning walk you shall have proof of it--that Giotto was a pure Etruscan-Greek of the Thirteenth Century: converted indeed to worship St. Francis instead of Heracles; but as far as vase-painting goes, precisely the Etruscan he was before. This is nothing else than a large, beautiful, coloured Etruscan vase you have got, inverted over your heads like a diving-bell. The roof has the symbols of the three virtues of labour--Poverty, Chastity, Obedience.

A. Highest on the left side, looking to the window. The life of St. Francis begins in his renunciation of the world.

B. Highest on the right side. His new life is approved and ordained by the authority of the church.

C. Central on the left side. He preaches to his own disciples.

D. Central on the right side. He preaches to the heathen.

E. Lowest on the left side. His burial.

F. Lowest on the right side. His power after death.

Besides these six subjects, there are, on the sides of the window, the four great Franciscan saints, St. Louis of France, St. Louis of Toulouse, St. Clare, and St. Elizabeth of Hungary. The Soldan, with an ordinary opera-glass, you may see clearly enough; and I think it will be first well to notice some technical points in it.

If the little virgin on the stairs of the temple reminded you of one composition of Titian's, this Soldan should, I think, remind you of all that is greatest in Titian; so forcibly, indeed, that for my own part, if I had been told that a careful early fresco by Titian had been recovered in Santa Croce, I could have believed both report and my own eyes, more quickly than I have been able to admit that this is indeed by Giotto. It is so great that--had its principles been understood--there was in reality nothing more to be taught of art in Italy; nothing to be invented afterwards except Dutch effects of light.

That there is "no effect of light" here arrived at, I beg you at once to observe as a most important lesson. The subject is St. Francis challenging the Soldan's Magi,--fire-worshippers--to pass with him through the fire, which is blazing red at his feet. It is so hot that the two Magi on the other side of the throne shield their faces. But it is represented simply as a red mass of writhing forms of flame; and casts no firelight whatever. There is no ruling colour on anybody's nose; there are no black shadows under anybody's chin; there are no Rembrandtesque gradations of gloom, or glitterings of sword-hilt and armour.

Is this ignorance, think you, in Giotto, and pure artlessness? He was now a man in middle life, having passed all his days in painting, and professedly, and almost contentiously, painting things as he saw them. Do you suppose he never saw fire cast firelight?--and he the friend of Dante! who of all poets is the most subtle in his sense of every kind of effect of light--though he has been thought by the public to know that of fire only. Again and again, his ghosts wonder that there is no shadow cast by Dante's body; and is the poet's friend _because_ a painter, likely, therefore, not to have known that mortal substance casts shadow, and terrestrial flame, light? Nay, the passage in the _Purgatorio_ where the shadows from the morning sunshine make the flames redder, reaches the accuracy of Newtonian science, and does Giotto, think you, all the while, see nothing of the sort?

The fact was, he saw light so intensely that he never for an instant thought of painting it. He knew that to paint the sun was as impossible as to stop it; and he was no trickster, trying to find out ways of seeming to do what he did not. I can paint a rose,--yes; and I will. I can't paint a red-hot coal; and I won't try to, nor seem to. This was just as natural and certain a process of thinking with _him_, as the honesty of it, and true science, were impossible to the false painters of the Sixteenth Century.

Nevertheless, what his art can honestly do to make you feel as much as he wants you to feel, about this fire, he will do; and that studiously. That the fire be _luminous_ or not, is no matter just now. But that the fire is _hot_, he would have you to know. Now, will you notice what colours he has used in the whole picture. First, the blue background, necessary to unite it with the other three subjects, is reduced to the smallest possible space. St. Francis must be in grey, for that is his dress; also the attendant of one of the Magi is in grey; but so warm, that, if you saw it by itself, you would call it brown. The shadow behind the throne, which Giotto knows he _can_ paint, and therefore does, is grey also. The rest of the picture[21] in at least six-sevenths of its area--is either crimson, gold, orange, purple, or white, all as warm as Giotto could paint them; and set off by minute spaces only of intense black,--the Soldan's fillet at the shoulders, his eyes, beard, and the points necessary in the golden pattern behind. And the whole picture is one glow.

A single glance round at the other subjects will convince you of the special character in this; but you will recognize also that the four upper subjects in which St. Francis's life and zeal are shown, are all in comparatively warm colours, while the two lower ones--of the death, and the visions after it--have been kept as definitely sad and cold.