Chapter III: Front Matter (3)

135. If you mean to reign dictator over the arts of your own times, assail not your rivals with the blustering tone of condemnation and rigid censure;--sap with conditional or lamenting praise--confine them to unfashionable excellence--exclude them from the avenues of fame.

136. If you wish to give consequence to your inferiors, answer their attacks.

_Coroll._--Michael Angelo, advised to resent the insolence of some obscure upstart who was pushing forward to notice by declaring himself his rival, answered: "Chi combatte con dappochi, non vince a nulla:" who contests with the base, loses with all!

137. Genius knows no partner. All partnership is deleterious to poetry and art: one must rule.[28]

138. The wish of perpetuating a name by enlisting under the banners of another, is the ambition of inferior minds: biography, with all its branches of "Ana," translation and engraving, however useful to man or dear to art, is the unequivocal homage of inferiority offered by taste and talent to the majesty of genius.

139. Dive in the crowd, meet beauty: follow vigour, compare character, snatch the feature that moves unobserved and the sudden burst of passion--and you are at the school of nature with Lysippus.[29]

140. The lessons of disappointment, humiliation and blunder, impress more than those of a thousand masters.

141. There are artists, who have wasted much of life in abstruse theories on proportion, who have measured the Antique in all its forms and characters, compared it with Nature, and mixed up amalgamas of both, yet never made a figure stand or move.

_Coroll._--"The Apollo is altogether composed of lines sweetly convex, of very small obtuse angles, and of flats, but the soft convexities predominate the character of the figure, being a compound of strength, dignity and delicacy. The artist has expressed the first by convex outlines, the second by their uniformity, and the third by undulation of forms. The convex line predominates in the Laocoon, and the forms of the muscles are angular at their insertions and ends to express agitation; for by these means the nerves and tendons become more visible, straight lines meeting with concave and convex ones, form those angles which produce violence of action. The sculptor of the Farnesian Hercules invented a style totally different; to obtain fleshiness, he composed the figure of round and convex muscles, but made their insertions flat to signify that they are nervous and unincumbered with fat, the characteristic of strength."

"In the Gladiator there is a mixture of the Herculean and the Laocoontic forms, the muscles in action are angulated, whilst those at rest are short and round, a variety conformable to nature," &c.

Opere di A.R. MENGS, t. i. p. 203.

142. Neither he who forms lines without the power of embodying them, nor he who floats on masses, can be said to draw: the one is the slave of a brush, the other of a point.

143. Pulp without solidity absorbs, and relentless tension tears character.

144. In following too closely a model, there is danger in mistaking the individual for Nature herself; in relying only on the schools, the deviation into manner seems inevitable: what then remains, but to transpose _yourself_ into your subject?

145. Style is the selection of forms and groups and tones to suit a subject.

_Coroll._--The Italian _Style Grandioso_, the French _Il y a du style_, the English _great style and breadth_, when applied to a performance, only mean, that the artist followed those who have enlarged the principles of imitation and execution.

146. Style pervades the object; manner floats on the surface.

147. Antient art was the tyrant of Egypt, the mistress of Greece, and the servant of Rome.

148. The superiority of the Greeks seems not so much the result of climate and society, as of the simplicity of their end and the uniformity of their means. If they had schools, the Ionian, that of Athens and of Sicyon appear to have directed their instruction to one grand principle, proportion: this was the stamen which they drew out into one immense connected web; whilst modern art, with its schools of designers, colourists, machinists, eclectics, is but a tissue of adventitious threads. Apollonius and the sculptor of the small Hesperian Hercules in bronze are distinguished only by the degree of execution; whilst M. Angelo and Bernini had no one principle in common but that of making groups and figures.

149. Art among a religious race produces reliques; among a military one, trophies; among a commercial one, articles of trade.

150. Modern art, reared by superstition in Italy, taught to dance in France, plumped up to unwieldiness in Flanders, reduced to "chronicle small beer" in Holland, became a rich old woman by "suckling fools" in England.

151. The rules of art are either immediately supplied by Nature herself, or selected from the compendiums of her students who are called masters and founders of schools. The imitation of Nature herself leads to style, that of the schools to manner.

_Coroll._--The line of Michael Angelo is uniformly grand; character and beauty were admitted only as far as they could be made subservient to grandeur:--the child, the female, meanness, deformity were indiscriminately stamped with grandeur; a beggar rose from his hand the patriarch of poverty; the hump of his dwarf is impressed with dignity; his women are moulds of generation; his infants teem with the man, his men are a race of giants.

The design of Raphael is either historic or poetic. The forms of his historic style are characteristic, those of his poetic style he himself calls ideal:[30] the former are regulated by nature, but these are only exaggerations of another style.

The forms of Julio Pipi are poised between character and caricature, but verge to this; even his dresses and ornaments are caricatures; but no poet or painter ever rocked the cradle of infant mythology with simpler or more primitive grace; none ever imparted to allegory a more insinuating power, or swayed the strife of elemental war with a bolder hand. What ever equalled the exuberance of invention scattered over the T of Mantoua?

The line of Polydoro, is that of the antique basso-relievo, seen from beneath (da sotto in su).

The forms of Titian are those of sanguine health; robust, not grand; soft without delicacy.

Tintoretto attempted to fill the line of Michael Angelo with colour, without tracing its principle.

As Michael Angelo was impressed with an idea of grandeur, so Correggio was charmed with a notion of harmony: his line was correct when harmony permitted; it strayed as harmony commanded.

Elegance (sueltezza) was the principle of Parmegiano's line, but he forgot proportion.

Annibale Carracci, one of the founders of the Eclectic school, attempted to combine in his line the appearance of Nature with style, and became the standard of academic drawing.

The medium, not the thing, was the object of the _Tuscan_ and _Venetian_ schools; the school of Urbino[31] aimed at subjecting the medium to the character of things; the _Lombards_ strove to unite the separate attainments of the three with the unattainable spell of Correggio; the _Germans_, with their Flemish and Dutch branches, now humbly followed, now boldly attempted to improve their Italian masters; the French passed the Alps to study at Rome and Venice what they were to forget at Paris.

Domenichino aimed at the characteristic line of Raffaelle, the compactness of Annibale, and the beauty of the antique; and mixing something of each fell short of all.

Rosso carried anatomy, and the Bolognese Abbate the poetry of their art to the court of Francis. To the haggard melancholy of the Tuscan and the laboured richness of the Lombard, the French added their own cold gaiety, and the French school arose.

The forms of Guido's female heads are abstracts of the antique. The forms of his male bodies are transcripts of models, such as are found in a genial climate, though sometimes distorted by fatigue or emaciated by want.

Pietro Testa copied the Torsos of antiquity, and supplied them with extremities drawn from the dregs of Nature.

The forms[32] of Caravaggio are either substantial flesh or the starveling produce of beggary rendered important by ideal light and shade.

The limbs of Joseph Ribera are excrescences of disease on hectic bodies.

Andrea Mantegna was in Italy what Albert Durer was at Nuremberg; Nature seems not to have existed in any shape of health in his time: though a servile copyist of the antique, he never once adverted from the monuments he copied to the originals that inspired them.

The forms of Albert Durer are blasphemies on Nature, the thwarted growth of starveling labour and dry sterility--formed to inherit his hell of paradise. To extend the asperity of this verdict beyond the forms of Albert Durer, would be equally unjust and ungrateful to the father of German art, on whom invention often flashed, whom melancholy marked for her own, whose influence even on Italian art was such that he produced a temporary revolution in the style of the Tuscan school. Andrea del Sarto and Giacopo da Puntormo became his imitators and his copyists; nor was his influence unfelt by Raffaelle himself, but his Christ led to the Cross (engraved by E. Sadler),[33] compared with that of the Madonna del Spasimo, leaves the claim of superiority doubtful for sublimity and pathos. It is a likewise probable that we owe the horrors of the St. Felicitas to the abominations of his Martyr scenes. The felicity of his organs, the delicacy of his finger, the freedom and sweep of his touch, have found an encomiast in the author of the life prefixed to the Latin edition of his works. What would have been the result of his intended interview, when in Italy, with Andrea Mantegna, had the death of the latter (1505) not prevented it, is difficult to guess: if some amelioration, certainly not the entire change of style, which the uninterrupted study of the antique, during a long life, had failed to produce in Andrea himself.

The forms of Luke of Leyden are the vegetation of a swamp.

The forms of Martin Hemskerck are dislocated lankness.[34]

The forms of Spranger and Goltzius are blasphemies on art; the monstrous incubations of dropsied fancy on phlegm run mad. This verdict, though uniformly true of every male figure of Goltzius that demanded energy of exertion, cannot be equally applied to his females, the features of the face excepted. On limbs and bodies resembling the antique in elegance if not correctness, he placed heads with Dutch features, ideally, often voluptuously dressed: such are his Venus between Ceres and Bacchus; and still more his Diana and Calisto, a composition which in elegance and dignity excels that of Tiziano. In the dreadful familiarity with which the guardian snake of the Beotian well approaches the companions of Cadmus, he has touched the true vein of terror and its limits, and atoned in some degree for the loathsome horror that had polluted his graver, when he condescended to copy the abominable process of that scene from the design of Pistor.

The male forms of Rubens are the brawny pulp of slaughtermen, his females are hillocks of roses: overwhelmed muscles, dislocated bones, and distorted joints are swept along in a gulph of colours, as herbage, trees and shrubs are whirled, tossed, or absorbed by vernal inundation.

The female forms of Rembrandt are prodigies of deformity; his males are the crippled produce of shuffling industry and sedentary toil.

The line of Vandycke is balanced between Flemish corpulence and English slenderness.

Sebastian Bourdon, sublime in his conceptions, filled classic ground and eastern vests with local limbs and Gallic actors.

Poussin renounced his national character to follow the antique; but could not separate the spirit from the stone.

152. The imitator seldom mounts to the investigation of the principles that formed his model; the copier probably never.

153. Many beauties in art come by accident, that are preserved by choice.

_Coroll._--Neither the froth formed on the mouth of Jalysus' hound by a lucky dash from the sponge of Protogenes, nor the modern experiments of extracting composition from an ink-splashed wall, are relatives of the beauties alluded to in this aphorism.

154. The praise due to a work, reflects not always on its master; and superiority may beam athwart the blemishes that we despise or pity; some, says Milton, praised the work and some the master: would you prefer him who is able to finish the image which he was unable to conceive, to its inventor?

155. It is the privilege of Nature alone to be equal. Man is the slave of a part; the most equal artist is only the first in the list of mediocrity.

156. He who seeks the grand, will find it in a trifle: but some seem made to find it only there. Rösel saw man like an insect, and insects as Michael Angelo men.

157. Physiognomy teaches what is homogeneous and what is heterogeneous in forms.

158. The solid parts of the body are the base of physiognomy, the muscular that of pathognomy; the former contemplates the animal at rest, this its action.

159. Pathognomy allots expression to character.

160. Those who allow physiognomy to regulate the great outlines of character, and reject its minute discriminations, admit a language and reject its elements.

161. The difficulty of physiognomy is to separate the essence from accident, growth from excrescence.

162. He who aims at the sublime, consults the classes assigned to character by physiognomy, not its anatomy of individuals; the oak in its full majesty, and not the thwarted pollard.

163. None ever escaped from himself by crossing seas; none ever peopled a barren fancy and a heart of ice with images or sympathies by excursions into the deserts of mythology or allegory.

164. The principles of allegory and votive composition are the same; they unite with equal right the most distant periods of time and the most opposite modes of society: both surround a real being, or allude to a real act, with symbols by long general consent adopted, as expressive of the qualities, motives, and circumstances that distinguished or gave evidence to the person or the transaction. Such is the gallery of the Luxembourg, such the Attila of the Vatican.

165. Pure history rejects allegory.

_Coroll._--The armed figure of Rome, with Fortune behind her frowning at Coriolanus, surrounded by the Roman matrons in the Volscian camp (by Poussin), is a vision seen by that warrior, and not an allegory; it is a sublime image, which, without diminishing the credibility of the fact, adds to its importance, and raises the hero, by making him submit, not to the impulse of private ties, but to the destiny of his country.

166. All ornament ought to be allegoric.

167. Dignity is the salt of art.

_Coroll._--In the Salutation of Michael Angelo,[35] the angelic messenger emerges from solitary twilight, his countenance seems to labour with the awful message, and his knees to bend as he approaches the mysterious personage: with virgin majesty and humble grace Mary bows to the extended arm of the lucid herald, as if waked from sacred meditation, and appears entranced by celestial sounds.

The Madonnas of Raffaelle, whether hailed parents of a God, or pressing the divine offspring to their breast, whether receiving him from his slumbers, or contemplating his infant motions, are uniformly transcripts from the daily domestic images of common life and of some favourite face matronized: the eyes of his Fornarina beamed with other fires than those of sanctity; the sense and native dignity of her lover could veil their fierceness, but not change their language.

The Madonna of Titiano receives her celestial visitant under an open portico of Palladian structure, and skirted by gay gardens; the usual ray precedes the floating angel; gold-ringleted and in festive attire, he waves a lily wand: in sable weeds the Virgin receives the gorgeous homage, proudly devout, like a young abbess amidst her cloistered lambs.

Tintoretto has turned salutation into irruption. The angel bursts through the shattered casement and terrifies a vulgar female; but his wings are tipped in heaven.[36]

168. Dignity gives probability to the impossible: we listen to the monstrous tale of Ulysses with all the devotion due to a creed. By dignity, even deformity becomes an instrument of art: Vulcan limps like a god at the hand of Homer: the hump and withered arm of Richard are engines of terror or persuasion in Shakspeare; the crook-back of Michael Angelo strikes with awe.

169. Luxuriance of ornament destroys simplicity and repose, the attendants of dignity.

_Coroll._--"Simon Mosca, one of the most distinguished sculptors of ornament and foliage in the sixteenth century, when proposed by Vasari to embellish by his designs the monument of the Cardinal di Monte, was discountenanced by Michael Angelo on this principle." Vasari, vita de Simone Mosca.

170. Judge not an artist from the exertions of accidental vigour or some unpremeditated flights of fancy, but from the uniform tenor, the never-varying principle of his works: the line and style of Titian sometimes expand themselves like those of Michael Angelo; the heads and groups of Raphael sometimes glow and palpitate with Titiano's tints; and there are masses of both united in Correggio: but if you aim at character, let Raphael be your guide; if at colour, Tiziano; if harmony allure, Correggio: they indulged in alternate excursions, but never lost sight of their own domain.

_Coroll._--No one, of whatever period of art, of whatever eminence or school, out-told Rembrandt in telling the story of a subject, in the choice of its real crisis, in simplicity, in perspicuity: still, as the vile crust that involves his ore, his local vulgarity of style, the ludicrous barbarity of his costume, prepossess eyes less penetrating than squeamish against him, it requires some confidence to place him with the classics of invention. Yet with all these defects, with every prejudice or superiority of taste and style against him, what school has produced a work (M. Angelo's Creation of Adam, and the Death of Ananias by Raffaelle excepted,) which looks not pale in the superhuman splendour that irradiates his conception of Christ before Pilate, unless it be the raising of Lazarus by Lievens, a name comparatively obscure, whose awful sublimity reduces the same subject as treated by Rembrandt and Sebastian of Venice, to artificial parade or common-place?

171. Tone is the moral part of colour.

172. If tone be the legitimate principle of colour, he who has not tone, though he should excel in individual imitation, colours in fragments and produces discord.

173. Harmony of colour consists in the due balance of all, equally remote from monotony and spots.

174. The eye tinges all nature with its own hue. The eye of the Dutch and Flemish schools, though shut to forms, tipped the cottage, the boor, the ale-pot, the shambles, and even the haze of winter, with orient hues and the glow of setting suns.

175. Clearness, freshness, force of colour, are produced by simplicity; one pure, is more than a mixture of many.

176. Colour affects or delights like sound. Scarlet or deep crimson rouses, determines, invigorates the eye, as the war-horn or the trumpet the ear; the flute soothes the ear, as pale celestial blue or rosy red the eye.

177. The colours of sublimity are negative or generic--such is the colouring of Michael Angelo.

178. The passions that sway features and limbs equally reside, fluctuate, flash and lower in colour.

179. The colours of pleasure and love are hues.

180. The colour of gravity, reverie, solemnity, approaches to twilight.

181. Colour in Raffaelle was the assistant of expression; to Titian it was the vehicle of truth; Correggio made it the minister of harmony. It was sometimes seized, and though reluctant held, but oftener neglected by the first; it was embraced, it domineered over, it coalesced with the second; it attended the third like an enchanted spirit.

182. Lodovico Carracci was the first who gave in oil the colours of gravity, the dignified twilight of cloistered meditation.

183. Annibale Carracci, from want of feelings, though impressed by a grave principle, changed the mild evening-ray of his master to the bleak light of a sullen day.

184. Colour owes its effect sometimes more to position and gradation than to its intrinsic value.[37]

185. The colour of Titian is the most independent of surrounding objects; their union may assist, but their discrepance cannot destroy it.

186. The harmony of Correggio is independent of colour.

187. Historic colour imitates, but copies not.

188. The portrait-painter copies the colour of his object, but chooses the medium through which that object is seen.

189. The mixtures that anticipate the beauties of time are big with the seeds of premature decay.

190. The colours of health are neither cadaverous nor flushed like meteors.

191. There are works whose effect is entirely founded on the contrast of tints, of what is termed warm and cold colour, and on reflected hues: strip them of this charm, reduce them to the principles of light and shade and masses, and as far as the want of those can degrade a picture, they will be fit to take their places on sign-posts.

192. Him who has freshness without frigidity, who glows without being adust, whose tints luxuriate though not fermented by putrefaction; who is juicy yet not clammy, though broad not empty, sharp without dryness, clear not pellucid, airy not volatile, without being clumsy plump--him you may venture to call a colourist.

193. Breadth is not vacuity--Breadth might easily be obtained if emptiness could give it.

194. The forms of virtue are erect, the forms of pleasure undulate: Minerva's drapery descends in long uninterrupted lines; a thousand amorous curves embrace the limbs of Flora.

195. Subordination is the character of drapery. The heraldry of dress, the rows of aggregated mitres and pontifical trappings, are noticed only for the sake of their wearers in the compositions of the Vatican.

_Coroll._--The superiority of style in drapery over that of the limbs which it covers in the earliest essays of art after its restoration, is not accounted for by the assertion that it is transcribed from the antique: if it is, by what unaccountable perverseness did the forms of the nudities uniformly escape observation? In painting, this dissonance continues more or less offensively from the epoch of Cimabue to that of Masaccio, and, him excepted, down to Pinturicchio; and ceases not to shock us in sculpture from the Pisani, to the appearance of Lorenzo Ghiberti. Nor did that style of drapery mark only the productions of Italian art; on this side of the Alps it invested that of Germany, from the Angels and Madonnas of Martin Schongaver and Albert Durer, to those of Aldegraver and Sebald Behm: in nearly all their performances, Trans and Cisalpine, the wearer is the appendix of his garment, chucked into vestments not his own, a dwarfish thief hid in a giant's robe.

196. Raffael's drapery is the assistant of character; in Michael Angelo it envelopes grandeur; it is in Rubens the ponderous robe of pomp.

197. If Nature has not taught you to sketch, you apply in vain to art to finish your work.[38]

198. Some must be idle lest others should want work.[39]

199. He who submits to follow, is not made to precede.[40]

200. Consider it as the unalterable law of Nature that all your power upon others depends on your own emotions. Shakspeare wept, trembled, laughed first at what now sways the public feature; and where he did not, he is stale, outrageous or disgusting.

201. None but indelible materials can support the epic. Whatever is local, or the volatile creature of the time, beauties of fashion and sentiments of sects, tears shed over roses, epigrammatic sparkling, passions taught to rave, and graces trained to move, the antiquary's mouldering stores, the bubbles of allegorists--are all with equal contempt passed over or crushed by him who claims the lasting empire of the human heart.

202. The invention of machines to supersede manual labour will at length destroy population and commerce;[41] and the methods contrived to shorten the apprenticeship of artists annihilate art.

203. Expect no religion in times when it is easier to meet with a saint than a man; and no art in those that multiply their artists beyond their labourers.

204. Expect nothing but trifles in times when those who ought to encourage the arts are content to debase them by their own performances.

205. Mediocrity despatches and exults; the man of talent congratulates himself on the success of his exertions--Genius alone mourns over defeated expectation.

206. Pride.--Call not him proud who is influenced by the tide and ebb of opinion.

207. Modesty.--The touchstone of genuine modesty is the attention paid to criticism, and the temper with which it is received, or its advice adopted; the most arrogant pretence, the most fiery ambition, the most towering conceit, may fence themselves with smoothness, silence and submissive looks--Oil, the smoothest of substances, swims on all.

208. Praise.--Despise all praise but what he gives who has been praised for similar efforts; or his whose interest it is to blame.

209. Emulation.--The vindication of the innate powers, of the individual dignity of man, careless of appendages and accidental advantage, grasps the substance of its object.

210. Envy, the bantling of desperate self-love, grasps the appendages, heedless of things. Emulation embalms the dead; Envy the vampire, blasts the living.

211. Flattery, the midwife of half-born conceits and struggling wishes, sometimes persuades, a boy that he is a man, a dwarf that he is a giant, but too often enervates the limbs of energy.

212. Vanity.--The vain is the most humble of mortals: the victim of a pimple.

213. Those reduced to live on the alms of genius, are the first to deny its existence.

214. Shakspeare is to Sophocles what the incessant flashes of a tempestuous night are to daylight.

215. Things came to Raffaelle and Shakspeare; Michael Angelo and Milton came to things.

216. The women of Michael Angelo are the sex.

_Coroll._--Eve emerging from the side of Adam; Eve reclining under the tree of knowledge, in the Capella Sistina; the figures of Night and Dawn on the tombs of the Medici, are pure generic forms, little discriminated by character, and more expressive by action than emotion of features; solidity without heaviness separates them from the females in the Last Judgment, which, with the exception of the Madonna and St. Catharine, are less beholden to grace than anatomy. The Cartoon of the Leda proves that he was not inattentive to the detail of female charms, but beauty did not often visit his slumbers, guide his hand, or interrupt the gravity of his meditation.

217. The women of Raffaelle are either his own mistress, or mothers.

_Coroll._--This relates chiefly to his Madonnas--Of his saints the St. Cecilia at Bologna has most of antique beauty, and, whether imitated or conceived, resembles the Niobe; but pride is absorbed in devotion, she is the enraptured victim of divine love, and glows with celestial fire: the goddesses of the Farnesina, however gracefully imagined, are too ponderous for aërial forms and amorous conceits.

218. The women of Correggio are seraglio beauties.

_Coroll._--The enchantment of the Magdalen, in the picture of the St. Jerome in the Pilotta at Parma, is produced by chiaroscuro and attitude. Sensuality personified is the general character of his females, and the grace of his children, less naiveté than grimace, the caricature of jollity.

219. The women of Titiano are the plump, fair, marrowy Venetian race.

_Coroll._--Venus taking a reluctant farewell of Adonis; Diana starting at the intrusion of Acteon, with every allure of attitude, with heads dressed by the Graces, are local beauties, sink under the weight of Venetian limbs, and are only distinguished by contrast from the model that plumped herself down for his Danae. The reposing figure commonly called the Venus of the Tribuna, is an exquisite portrait of some favourite female, but not a Venus.

220. The women of Parmegiano are coquettes.

221. The women of Annibale Carracci are made up by imitation and vulgarity.

_Coroll._--Venus with Anchises, Juno with Jupiter, Omphale with Hercules, Diana and Calisto in the Farnese gallery, owe their charms and dignity of action to imitation; the celebrated three Maries, Magdalen penitent in her hempen shroud, are the conceptions of his own mind.

222. The women of Guido are actresses.

223. The forms of Domenichino's female faces are ideal; their expression is poised between pure helpless virginity and sainted ecstasy.

224. The veiled eyes of Guercino's females dart insidious fire.

225. Such is the fugitive essence, such the intangible texture of female genius, that few combinations of circumstances ever seemed to favour its transmission to posterity.

226. In an age of luxury women have taste, decide and dictate; for in an age of luxury woman aspires to the functions of man, and man slides into the offices of woman. The epoch of eunuchs was ever the epoch of viragoes.

227. Female affection is ever in proportion to the impression of superiority in the object. Woman fondles, pities, despises and forgets what is below her; she values, bears and wrangles with her equal; she adores what is above her.

228. Be not too squeamish in the choice of your materials; you will disgrace the best, if you cannot give value to the worst: the gold and azure wasted on Rosselli's[42] draperies cannot give value to their folds or hide the wants beneath.

229. There are moments when all are men, and only men, and ought to be no more; but the artist, who when his daily task is over can lock his meditation up with his tools--ranks with mechanics.

230. Date the death of emulation and of excellence from the moment of your employer's indifference; and mediocrity of success from the moment of his meddling with the process of your work.

231. One of the most unexplored regions of art are dreams, and what may be called the personification of sentiment: the Prophets, Sibyls and Patriarchs of Michael Angelo are so many branches of one great sentiment. The dream of Raffaello is a characteristic representation of a dream; the dream of Michael Angelo is moral inspiration, a sublime sentiment.

_Coroll._--Of three visionary subjects ascribed to Raffaello and known from the prints of Marc Antonio, Georgio Mantuano, and Agostino Veneziano, this alludes to the last, called by the Italians Stregozzo, by the French "La Carcasse:" an association of ideas big with the very elements of dreams, and almost a definition. That it be a conception of Raffaello rests on no other proof than the tablet of Marc Antonio and its own internal merit; which is so uniform that although one principal figure is undoubtedly transcribed from another in the cartoon of Pisa, the whole can never be considered as a pasticcio.

232. A trite subject becomes interesting by the introduction of appropriate ornaments; a small statue of Moses breaking the tables in the back-ground of a Salutation; and a number of Baptists in that of a Madonna with her son and Joseph, expressing the dissolution of the old and the institution of the new doctrine, both by Michael Angelo,[43] give unexpected sublimity to subjects for which Raffaelle and Titiano had ransacked in vain the nursery and heaven.

233. Compilation is the lowest degree in art, but let him who means to borrow with impunity, follow the statesman's maxim: "strip the mean and spare the great."

_Coroll._--A composition of which every thing was borrowed from himself, being shown to Michael Angelo, and his opinion asked, "I commend it," said he, "but when on the day of judgement each body shall claim its original limbs, what will remain in this picture?"

234. He ought to possess some himself, who attempts to make use of borrowed excellence: a golden goblet on a beggar's table, serves only to expose its companions of lead.

235. Resemblance, character, costume, are the three requisites of portrait: the first distinguishes, the second classifies, the third assigns place and time to an individual.

236. Landscape is either the transcript of a spot, or a picturesque combination of homogeneous objects, or the scene of a phenomenon. The first pleases by precision and taste; the second adds variety and grandeur; the third may be an instrument of sublimity, affect our passions, or wake a sentiment.

237. Selection is the invention of the landscape painter.

238. He never can be great who honours what is little.

_Coroll._--Grandeur of style and execution do not exclusively depend upon dimensions: but in an age and amidst a race who have erected littleness or rather diminutiveness of size to the only credentials of admissibility into collections, to the passports without which Raffaelle himself finds it difficult to penetrate the sanctuaries of pigmy art, that which ennobled the age of Pericles, of Julio, and Leone, must be content to look to posterity for its reward. If it were physiognomically true, that the structure of every human face bears some analogy to that of some brute, it might reasonably surprise, that an individual marked by nature with no very remote resemblance to a Hippopotamus, should be considered as the legislator of a taste equally noted for tameness of conception and effeminate finish; but as it is improbable that one individual, however favoured by circumstances or endowed with all-persevering activity, or arrogance, could stamp the taste of a nation exclusively with his own, it may be fairly surmised that he did no more than find and rear the seeds of that Micromania which infects the public taste.

239. The medium of poetry is time and action; that of the plastic arts, space and figure. Poetry then is at its summit, when its hand arrests time and embodies action: and these, when they wing the marble or the canvass, and from the present moment dart rays back to the past and forward to the future.

_Coroll._--Subjects are positive, negative, repulsive. The first are the proper materials, the voluntary servants of invention; to the second she gives interest and value; from the last she can escape only by the help of execution, for execution alone can palliate her defeat by the last. The Laocoon, the Hæmon and Antigone, the Niobe and her daughters, the death of Ananias, the Sacrifice at Lystra, Elymas struck blind, are positive subjects, speak their meaning with equal evidences to the scholar and the unlettered man, and excite the sympathy due to the calls of terror and pity with equal energy in every breast. St. Jerome presenting the translation of his Bible to the Infant Jesus, St. Peter at the feet of the Madonna receiving the thanksgivings of victorious Venice, with every other votive altar-piece, little interesting to humanity in general, owe the impression they make on us to the dexterous arrangement, the amorous or sublime enthusiasm of the artist;--but we lament to see invention waste its powers, and execution its skill, to excite our feelings for an action or event that receives its real interest from a motive which cannot be rendered intuitive; such as Alceste expiring, the legacy of Eudamidas, the cause of Demetrius's disorder.

FOOTNOTES:

[2] Tacit. Annal. lib. VI. "Nullam ob eximiam artem, sed quod par negotiis, neque supra erat."

[3] D. Longin. περι ὑψους, § 34.

[4] "Les hommes qui ont changé l'univers, n'y sont jamais parvenus en gagnant des chefs; mais toujours en remuant des masses. Le premier moyen est du ressort de l'intrigue, et n'amène que des résultats secondaires; le second est la marche du Génie, et change la face du monde."--_Napoleon._

[5] Tacit. Annal. lib. xiv. et xvi.

[6] Difficile est proprie communia dicere. Hor. A.P.

[7] Τον δ' αρ' ὑπο ζυγοφιν προσεφη ποδας αἰολος ἱππος. Iliad xix. 404. ----Rhœbe diu, etc.--_Virg._ x.

[8] Plin. lib. xxxv.

[9] This picture, during a period of nearly half a century, graced the collection of Charles Lambert, Esq. of Paper-buildings, Temple; where it remained without having been washed or varnished. At his death it was purchased by my friend Mr. Knowles, has been cleaned by a skilful hand, and restored to nearly its pristine state.

[10] Sea Voyage, Act 3rd. sc. 1st.

[11] Dante Inferno, Cant. xxiv.

[12] ΗΘΗ. Mores. Plin. l. xxxv.

[13] The Necromantia of Nicias--the sacking of a town, by Aristides. Plin. l. xxxv.

[14] A group of Stephanus in the Villa Ludovisi, known by the name of Papyrius and his mother, called a Phædra and Hippolytus, or an Electra with Orestes, by J. Winkelmann, bears more resemblance to an Æthra with Theseus, or a Penelope with Telemachus.

[15] Gallum inficetissime linguam exserentem.--Plin. l. xxxv.

[16] Plin. l. xxx. W. c. xiv.

[17] Commonly named the Dying Gladiator; by J. Winkelmann called a Herald; with more probability the "Vulneratus deficiens, in quo possit intelligi quantum restet animæ." A work of Ctesilas in bronze, was probably the model of this. Plin. l. xxxiv.

[18] Sueton. l. vi.

[19] In one of the cartoons of Raffaello, now lost, but still in some degree existing in tapestry and in print.

[20] Engraved by G. Audran.

[21] In the cartoon of Peter and John.

[22] Iliad, L. xviii. l. 93; L. xvi. l. 74 and 75; L. ix. l. 346.

[23] Commonly called the Castor and Pollux of Monte Cavallo,--the name given from their horses to the Quirinal.

[24] Plin. N.H. l. xxxv. c. ix. Tantus diligentia, ut Agrigentinis facturus tabulam, quam in templo Junonis Lucinæ publice dicarent, inspexerit virgines eorum nudas, et quinque elegerit, ut quod in quaque laudatissimum esset, pictura redderet.

[25] Mengs Lettera à don A. Ponz. Opere di A.R. Mengs, t. ii. p. 83.

[26] Such was probably that austerity of tone in the works of Athenion, which the ancients preferred to the sweetness or gayer tints of Nicias--"austerior colore et in austeritate jucundior."--Plin. l. xxxv. c. xi.

[27] See the sonnet of Agostino Carracci, which begins "Chi farsi un bon Pittor cerca e desia," &c. which the author himself seems to ridicule by the manner in which he concludes.

[28] Οὐκ ἀγαθον πολυκοιρανιη εἱς κοιρανος ἐστω. Il. ii. 204. The conception of every great work must originate in one, though it may be above the power or strength of one to execute the whole.

[29] Pliny, l. xxxiv. c. 8.

[30] In the Letter to C.B. Castiglione. Ideal is properly the representation of pure human essence.

[31] Raffaelle and the best of his pupils; their successors, commonly known by the name of the Roman school, followed principles diametrically opposite.

[32] "Macinava carne," said Annibale Carracci.

[33] Ægidius Sadeler sculpsit ex Prototypo Alberti Dureri.

[34] "Elumbis," as applied by the author of the Dialogue on Orators to the style of Brutus, will nearly suit all imitators of Michael Angelo.

[35] In the Sacristy of St. Giovanni in Laterano, painted from the cartoon by Marcello Venusti.

[36] This and the foregoing picture are in the Scuola di S. Rocco at Venice. The skeleton of the former is known by an etching of _Le Fevre_.

[37] "Whoever looks at a picture by Correggio of a glorified Madonna with a St. Sebastian and other figures, at Dresden, is instantly surprised by the light of the glory, which has all the splendour of a sun, though painted with a low-toned yellow, and dim at the extremities."

Opere di R. Mengs, t. ii. p. 161.

[38] John, called da Bologna, showed a model to Michael Angelo smoothly polished; Michael Angelo took, and, heedless of its finish, twisted it about; then giving it back to the student, "Learn," said he, "to sketch before you attempt to finish."

[39] Such was the proud answer of Frà Sebastian del Piombo, grown fat by the signet of St. Peter, when asked why he had entirely resigned all exercise of his art.

[40] Said Michael Angelo, when asked whether the copy of the Laocoon by Baccio Bandinelli was not equal or superior to the original. Titiano, with more mordacity though surely with less discrimination, ridiculed the copyist by a caricature in which the Trojan with his sons were changed to baboons.

[41] "Sineret se plebeculam pascere," said Vespasian to the artist who had contrived a machine to convey some large columns with a trifling expense to the Capitol, and rewarded him without accepting his offer.

[42] Cosmo Rosselli, one of the Tuscan painters who preceded Michael Angelo in decorating the Chapel of Sixtus IV.

[43] This is the Madonna painted for Angelo Doni, now in the Tribuna of Florence, and probably the only existing oil-picture of Michael Angelo, though Lanzi rejects its title to that. Vasari mentions it with his usual extravagance of praise, but appears ignorant of the real meaning of the figures.

A HISTORY OF ART IN THE SCHOOLS OF ITALY.

THE TUSCAN SCHOOL.

The analogy of style observable in the figures impressed on Tuscan coins of the tenth, eleventh, and twelfth century, and those found in the miniatures that decorate the manuscripts of the contemporary periods, proves that Tuscany had its artists long before the epoch which Vasari and his copyists fix for the importation of Greek art with Greek artists: whether those paintings be all pure Tuscan, or here and there interspersed with Greek ones, none will venture to decide, who knows the impossibility of drawing a limitary line sufficiently severe to distinguish the last spasms of an expiring art from the first stammerings of an infant one. Of the still surviving monuments of painting during those epochs, it may be sufficient to mention the famed Christ, painted on canvass and glued to a wooden cross, of a date anterior to 1003.

In subsequent times, the earliest and least unsuccessful essays in art, were made by the Pisano. Whilst a Greek sarcophagus at Pisa, storied with the incidents of Hippolytus and Phædra, furnished some elements of form to the sculptors Niccolo and Giovanni Pisano, painting made some progress with Giunta Pisano: his composition of Christ on the Cross at the Angeli of Assisi, though defective in design, possesses life and expression.[44]

A similar progress was made by his contemporary Guido or Guidone of Sienna; a name not mentioned by Vasari, though in his frequent excursions to Sienna, he could not remain unacquainted with the works of Guido, at least one which still exists in the chapel of the Malevolti in S. Dominico, with the following often repeated inscription and date:--

Me Guido de senis diebus depinxit amenis
Quem Christus lenis nullis velit agere penis.
A.D. M.CCXXI.

This Madonna, twenty years anterior to the birth of Cimabue, is superior to his Madonna in expression, and nearly equal in taste and colour, though inferior in style.

Duccio di Boninsegna, probably of his school, was celebrated as the restorer of that inlaid kind of Mosaic, called "Lavoro di Commesso." His works are from 1275, the year in which he received a commission for Sta. Maria Novella at Florence, to 1311, the period at which he was employed in the Domo of Sienna. If these dates be genuine, he can scarcely have lived till 1357, the year at which Fiorillo fixes his death. It is not probable that he should have stretched his span beyond a century, which must have been the case, if we suppose that he was twenty at the time he painted in S. Maria Novella; it is not probable that he should have chosen, or been suffered, to remain idle with the celebrity he had acquired in the labours of the Domo; and it is still less probable, that, if he was employed, what he produced in the interval, between that period and his death, should have perished or been destroyed, whilst we are still in possession of the paintings in the Domo, which made nearly an epoch in art, at which he laboured three years, for which he was paid upwards of 3000 scudi d'oro, the expense of gilding and ultramarine included. That part of it which faced the audience, represented in large figures the Madonna and various saints; that which fronted the choir, divided into many compartments, exhibited numerous compositions of Gospel subjects in figures of small proportion; it cannot be denied, that with all its copiousness, the whole savours strongly of the Greek manner.

Andrea Taffi, born 1213, the scholar of Apollonius, a Greek painter, and his assistant in some mosaics at S. Giovanni of Florence, is not mentioned out of that line by Vasari and Baldinucci: but the discovery of a picture with his name by Ignazio Stugford adds another legitimate name to the predecessors of Cimabue.

Buonamico di Cristofano, or Buffalmacco, of facetious memory, was the pupil of Taffi. His best works are lost, but from the remains it may be suspected that he owes at least as much to the tales of Boccaccio and Sacchetti, for the preservation of his name, as to his own powers. There still exists in Campo Santo at Pisa, a fresco of the Creation with a God Father five ells high, supporting Heaven and the elements; and three other stories of Adam, Noah and his Sons; a Crucifix, a Resurrection, and an Ascension. We must not look here for much symmetry of design or Giottesque elegance; his heads have little variety, and less beauty; sameness of features, a vulgar cast, and a gaping deformity of mouth, characterize his women; but now and then attention rests on the vivacity or physiognomy of some male countenance, especially that of Cain. Sometimes he snatches some movement from nature, such as that of the terrified man who flies from Calvary: he overflows in particoloured drapery, and delights in laboured ornaments of flowers and lace. A St. John the Baptist of his, yet existing, deserves to be mentioned as an instance of the utility of comparing works in painting and sculpture with contemporary coins, in order to ascertain their dates; for the same figure is exactly repeated on the Florentine scudo d'oro of that age. A jocular host of artists, scholars of this school, we pass over, as more important to the reader of the Decamerone and the Novelle, than to the student of art.

Lucca, about 1235, possessed Bonaventura Berlingieri, whose St. Francis still exists in the castle of Guiglia, near Modena, and is described as a work of considerable merit for its time: Margaritone of Arezzo, a pupil and follower of the Greeks, appears to have been several years anterior to Cimabue. He painted on canvass, and was the first, according to Vasari, who found the method of giving a more solid texture to pictures. Some crucifix of his is still seen at Arezzo, and another at Santa Croce in Florence, facing one of Cimabue. The style of both is antiquated, but not so different in merit to make us refuse a painter's name to Margaritone if we grant it to Cimabue.

Giovanni Cimabue,[45] of noble lineage, was an architect and painter. He is considered as the father of Italian art, because with him legitimate history and a less interrupted series of dates, begin; because he succeeded better than his predecessors in disentangling himself from the shackles of Greek barbarity, and chiefly because he discovered and called forth the genius of Giotto. Vasari may be right in making him the scholar of those Greeks whom the Florentine Government had employed to paint the Church of Santa Maria Novella; but he errs in placing them in the Chapel Gondi, which, with the body of the church, was not erected till the subsequent century; he should have assigned them another chapel under the church, where time has discovered some vestiges of ancient painting. It seems, however, more probable, that Giunta Pisano gave Cimabue instruction, if it be ascertained, as Fiorillo asserts, that he worked in the great church of Assisi, 1253, when he was in his thirteenth year, and Giunta superintended the decorations of that fabric.

The pompous visit which Charles of Anjou paid to Cimabue in passing through Florence, sufficiently proves the celebrity he enjoyed, if it has not been sanctioned by the authority of Dante, who calls him the unrivalled champion of his day. Cimabue was then painting the Madonna with the Infant adored by six angels; the picture when finished was carried in procession from Borgo Allegro to Santa Maria Novella, and placed in the Chapel Rucellai, where it still exists. The heraldic arrangement of the figures, their physiognomic monotony, the exility of the detail and barbarous execution, contrast strangely with the elevation and novelty of the artist's conception. Cimabue lost the female and the mother in the Queen of Heaven. Insensible to the blandishments of beauty, fierce like the age in which he lived, he excelled in male, especially aged characters; these he impressed with something of a stern grandeur, not often surpassed since. Vast and comprehensive in his ideas, he seized on subjects of numerous composition, and expressed them in large proportions; those features of prophetic grandeur which surprise in his frescoes at the Dominicans and Santa Trinità of Florence, are still excelled by the features which he displayed in the upper church of Assisi--meteors of the age in which he lived. They still exist, nor is it easily conceived how works of so different style, against the testimony of Vasari, and the uniform tradition of five centuries, could, as they were of late, be ascribed to the more regulated hand and gentler spirit of Giotto.

Giotto's year of birth has been disputed; Vasari fixes it to 1276, Baldinucci to 1265. He was the son of a cottager at Vespignano, and bred to be a shepherd; but, a painter born, he amused himself from infancy with attempts to draw whatever object struck his fancy. A sheep which he had copied on a flat stone caught the eye of Cimabue, who was in the neighbourhood, happened to pass by, demanded him of his father, and carried him to Florence to instruct him; but he soon rivalled, and in a short time eclipsed his master by a grace and an amenity of execution which remained unequalled to the time of Masaccio.

For the rapidity of this progress, unless we were to ascribe it to inspiration, we must account from the happy coincidence of external advantages with the genius of the man. A period so obscure, admits of little more than conjecture, but there is no improbability in supposing that Giotto outstripped his master and the times by the same means which rendered Michael Agnolo so soon superior to Ghirlandaio,--modelling and the study of the antique. We know that he was a sculptor, and that his models still existed in the time of Lorenzo Ghiberti. Good originals he could find among the fragments of antiquity discovered before his time, and scattered over Florence and Rome: from what other source could he derive the character of his male heads, and that squareness of form so different from the exility and indecision of all contemporary styles? The few majestic natural folds of his draperies, and the composure and unaffected air of his figures, breathe the spirit of the antique. His very defects are the consequences of such a study. His manner has been charged with a kind of _statuine_ precision (del statuino), unknown to other schools, and unknown to artists who do not form themselves on the antique.

If to these conjectures it be objected, that the want of uniformity, dryness of design, extremities either faulty or hid under a preposterous length of drapery, rather betray a nurseling of Pisa than a pupil of the ancients; it ought to be considered that uniformity is the result of settled principles; that he who had to remove the rubbish could not be expected to give the polish; that he who had to teach eyes to look, hands to move, and feet to stand, could not be supposed to make them do it with all the correctness, propriety or elegance, they were capable of; that a certain gymnophobia equally attends the infancy and the decrepitude of taste, and that the approbation of a public and an artist's flattery are always reciprocal.

And no artist commanded more of public favour than Giotto. Legislator of taste, not in Tuscany alone, but at Rome, Naples, Bologna, and the Venetian State, he excelled his master as much in celebrity as he had excelled him in grace and method. How soon he did this may be seen on comparing his earliest works at Assisi with those of his master in the same place. Genuine elements of composition, expressions inspired by Nature, accuracy of design, progressively appear. It is no hyperbole to affirm, that in certain characters no artist ever went nearer the source of expression than Giotto, and that in the maiden airs of untainted virginity none ever excelled, and perhaps, Raphael and Domenichino excepted, few ever approached him.

Though not the inventor, Giotto was the restorer of portrait-painting; resemblance, with character of face and attitude, date from him. He gave us Dante, Brunetto Latini, Corso Donato, &c. Mosaic was improved by him, and his powers in it shown by the celebrated Navicella, or boat of Saint Peter, in the portico of the Basilica at Rome; though restoration has transformed it to a work of shreds and patches, and reduced his claim on it to the mere name. Missal painting likewise owes him some gratitude; and in architecture the grand steeple of the Domo at Florence is the work of Giotto.