The German Classics of the Nineteenth and Twentieth Centuries Volume Ii Part 31

However much Winckelmann wandered about in the fields of possible and profitable knowledge, guided partly by pleasure and inclination, partly by necessity, he always came back sooner or later to antiquity, especially to Greek antiquity, with which he felt himself most closely related, and with which he was destined so happily to be united in his best days.

PAGANISM

The description of the ancient point of view, concerned only with this world and its a.s.sets, leads us directly to the observation that such advantages are conceivable only in a pagan mind. That confidence in oneself, that activity in the present, the pure wors.h.i.+p of the G.o.ds as ancestors and the admiration of them _quasi_ as artistic creations only, resignation to an all-powerful fate, the yearning for future fame, itself dependent upon activities in this world--all these belonging necessarily together, const.i.tute such an inseparable whole that they form a condition of human existence planned by Nature herself. In the highest moment of happiness, as well as in the deepest of sacrifice, even of destruction, we are always conscious of an indestructible well-being.

This pagan point of view pervades Winckelmann's deeds and writings, and is expressed especially in his early letters, where he is still wearing himself out in the conflict with more modern religious opinions. This mode of thought, this remoteness from the Christian point of view, indeed his repugnance of it, must be remembered in judging his so-called change of religion. The churches into which the Christian religion is divided were a matter of complete indifference to him, because in his inmost nature he never belonged to any of them.

FRIENDs.h.i.+P

Since the ancients, as we boast, were really entire men, they must, as they found all happiness in themselves and the world, have learned to know the relations of human beings in the widest sense; they could not therefore be lacking in that delight which arises from the attachment of similar natures.

Here also a remarkable difference between ancient and modern times is revealed. The relation to woman, which with us has become so tender and spiritual, hardly rose above the limits of the lowest satisfaction. The relation of parents to children seems to have been of a somewhat more tender character. The friends.h.i.+p of persons of the male s.e.x for one another, with them took the place of all other sentiments; although they pictured the maidens Chloris and Thyia as inseparable friends, even in Hades.

The pa.s.sionate fulfilment of loving duties, the joy of inseparability, the devotion of one for the other, their avowed allegiance during life, and the duty of sharing death itself, if necessary, fill us with astonishment. One even feels ashamed of one's own generation when poets, historians, philosophers and orators overwhelm one with amazing stories, events, sentiments and opinions, all of the same tenor and purport.

For a friends.h.i.+p of this character, Winckelmann felt himself born--not only capable of it, but requiring it to the highest degree. He realized himself only in the relation of friends.h.i.+p; he recognized himself only in that image of the whole which requires a third for its completion.

Even at an early period he applied this ideal to a probably unworthy object; to whom he consecrated himself, for whom he vowed himself to live and to suffer; for whom he found even in his poverty the means of being rich, of giving and of sacrificing; indeed he would not have hesitated to surrender his existence, his very life. It is in this relation that Winckelmann, even in the midst of poverty and need, feels rich, generous and happy, because he is able to do something for him whom he loves above everything else, and in whom he has, as the highest sacrifice, to excuse even ingrat.i.tude.

However the times and circ.u.mstances might alter, Winckelmann reshaped every object of worth with which he came in contact, to fit this ideal of friends.h.i.+p. Although many of these attachments easily and quickly vanish, the fine sentiment underlying them won for him the heart of many an excellent man, and brought him the happiness of living in the most beautiful relation with the best men of his age and environment.

BEAUTY

Although such a deep need of friends.h.i.+p really creates and idealizes the object of its affection, the lover of antiquity would, through it alone, achieve only a one-sided moral excellence. The external world would offer him little, if along with it a related, similar need and a satisfying object of this need did not fortunately appear--we refer to the demand for the sensuously beautiful, as revealed in a tangible object. For the supreme product of an ever evolving nature is the beautiful man. It is true that Nature can but seldom produce him, because the ideal is opposed by many existing conditions, and even her almighty power cannot tarry long with the perfect, and perpetuate the beauty it has produced; for, to be exact, we may say it is only for a moment that the beautiful man remains beautiful.

Against this mutability art now enters the lists. For, by being placed at the summit of nature, man views himself as a complete nature, which must now produce another consummation. He attains this end by striving for virtue and perfection, by appealing to selection, arrangement, harmony and significance, through which he at length rises to the production of a work of art, which achieves a brilliant place among his other works and actions. Once achieved and standing in its ideal reality before the world, it produces a lasting and supreme effect. For in its spiritual development from all of man's powers, it adopts all that is n.o.ble and lovable; and by spiritualizing the human form and raising man above himself, it closes the circle of his life and activity, and deifies him in the present, in which both past and future are included.

By such emotions were those overwhelmed who saw the Olympian Jupiter, as we gather from the descriptions and testimony of the ancients. G.o.d had become man in order to raise man to G.o.d. One beheld supreme dignity and was inspired by supreme beauty. In this sense we can only acknowledge that the ancients were right when they said, with profoundest conviction, that it was a misfortune to die without having seen this great work.

For the appreciation of this beauty Winckelmann was by nature fitted. He first learned of it in the writings of the ancients, but encountered it personified in the works of art, in which we all first learn to know it, that we may recognize and treasure it in nature's living creations.

When, however, the requirements of friends.h.i.+p and of beauty both find inspiration in the same object, the happiness and grat.i.tude of man seem to pa.s.s all bounds. All that he possesses he would gladly give as a feeble testimony of his attachment and his devotion.

So we often find Winckelmann in friends.h.i.+p with beautiful youths, and never does he appear more animated and lovable than in such, though often only flitting, moments.

CATHOLICISM

With such opinions, with such needs and longings, Winckelmann for a long time served objects alien to his own desires. Nowhere about him did he see the least hope of help and a.s.sistance.

Count Bunau, in his capacity of a private gentleman, needed only to buy one valuable book less in order to open for Winckelmann the road to Rome; as a minister of state he had influence enough to have helped this excellent man out of every difficulty; but he was probably unwilling to lose so capable a servant, or else he had no appreciation of the great service he would have rendered the world by encouraging a gifted man.

The Court at Dresden, from which Winckelmann might eventually hope for adequate support, professed the Roman faith, and there was scarcely any other way to attain favor and consideration than through confessors and other members of the clergy.

The example of a Prince is a mighty influence in his country, and incites with secret power every citizen to like actions in private life, especially to moral actions. The religion of a Prince always remains in a certain sense the ruling religion, and the Roman faith, like a whirlpool, draws the quietly pa.s.sing waves to itself and into its vortex.

In addition to this Winckelmann must have felt that a man, in order to be a Roman in Rome, in order to identify himself with the life there, and to enjoy confidential a.s.sociation, must necessarily profess the religion of his a.s.sociates, must yield to their faith, and accommodate himself to their usages. The final result actually shows that he could not have attained his end without this early decision, which was made much easier for him by the fact that, as a thorough heathen by nature, he had never become Christianized by his Protestant baptism.

Yet this change in his condition was not achieved without a bitter struggle. We may, in accordance with our convictions, and for reasons sufficiently weighty, make a final decision which is in perfect harmony with our volition, desires and needs, which indeed seems unavoidable for the maintenance and continuance of our very existence, so that we are in perfect accord with ourselves. But such a decision may contradict the prevailing opinion and the convictions of many people. Then a new struggle begins, which, while it may cause no uncertainty, yet may occasion discomfort, impatience and annoyance, because we discover occasional inconsistencies in our actions while we suspect the existence of many more in ourselves.

And so Winckelmann, before his intended step, seemed anxious, fearful, sorrowful and swayed by deep emotion when he thought of its probable effect, especially upon his first patron, Count Bunau. How beautiful, sincere and upright are his confidential expressions upon this point!

For every man who changes his religion is marked by a certain stigma from which it seems impossible to free him. From this it is evident that men cherish a steadfast purpose above all else, all the more so because they, divided into factions, constantly have their own safety and stability in mind. This is not a matter of feeling or conviction. We should be steadfast precisely there where fate rather than choice places us. To remain faithful to one people, one city, one Prince, one friend, one woman; to trace back everything to them; to labor, want and suffer everything for their sake--this is estimable. To desert them is hateful; inconstancy is contemptible.

Thus is indeed the harsh, the very serious side of the question, but it may also be viewed from another point of view from which it has a more pleasing and less serious aspect. Certain conditions of society, which we in no sense approve of, certain moral blemishes in others, have an especial charm for the imagination. If the comparison be permitted, we might say that it is in this matter as it is with game which, to the cultivated palate, tastes far better slightly tainted than when fresh. A divorced woman or a renegade make an especially interesting impression.

Persons who would otherwise appear to be merely interesting and agreeable, now appear admirable. It cannot be denied that Winckelmann's change of religion considerably heightens in our imagination the romantic side of his life and being.

But to Winckelmann himself the Catholic religion presented nothing attractive. He saw in it only the masquerade dress which he threw around him, and expressed himself bitterly enough about it. Even at a later period he does not seem to have sufficiently observed its usages, and by loose speech he perhaps made himself suspicious to devout believers--here and there at least a slight fear of the Inquisition is perceptible.

REALIZATION OF GREEK ART

The transition from literature, even from the highest things that have been expressed in word and language, from poetry and rhetoric, to the plastic and graphic arts is difficult, indeed almost impossible. For there lies between the two a tremendous chasm, over which only a specially adapted nature can help us. We have now a sufficiently large number of doc.u.ments lying before us to enable us to judge how far Winckelmann succeeded in doing this.

Through the joy of appreciation he was first attracted to the treasures of art; but in order to use and judge them, he required artists as intermediaries, whose more or less authoritative opinions he was able to comprehend, revise, and express. In this manner originated his treatise _Concerning the Imitation of Greek Masterpieces in Painting and Sculpture_, with two appendices, published while he was still in Dresden.

However much Winckelmann appears, even here, to be upon the right path; however many delightful, fundamental pa.s.sages these writings contain, however correctly the final aim of art is already defined in them, they are nevertheless, both as regards form and subject, so baroque and curious, that one would in vain seek their meaning, unless he had definite information concerning the personality of the connoisseurs and judges of art at that time a.s.sembled in Saxony, and concerning their abilities, opinions, inclinations and whims. These writings will therefore remain a sealed book to posterity, unless well informed connoisseurs of art, who lived nearer those times, should soon decide either to write or cause to be written a description of the then existing conditions, in so far as this is still possible. Lippert, Hagedorn, Oeser, Dietrich, Heinecken and Oesterreich loved, practised and promoted art, each in his own way. Their purposes were restricted, their maxims were one-sided, yea, very often, freakish. They circulated stories and anecdotes, the varied application of which was intended not only to entertain but also to instruct society. From such elements arose the earliest treatises of Winckelmann, which he himself very soon found unsatisfactory, as indeed he did not conceal from his friends.

Although not sufficiently prepared, yet with some practical experience, he at length began his journey, and reached that country where for the receptive mind the time of real culture begins--that culture which permeates the entire being, and finds expression in creations which must be as real as they are harmonious, because they have, as a matter of fact, proved powerful as a firm bond of union between most different natures.

ROME

Winckelmann was at last in Rome, and who could be worthier to feel the influence which that great privilege is able to produce upon a truly perceptive nature! He sees his wish fulfilled, his happiness established, his hopes more than satisfied. His ideals stand embodied about him. He wanders astonished through the ruins of a gigantic age, the greatest that art has produced, under the open sky; freely he lifts his eyes to these wonderful works as to the stars of the firmament, and every locked treasure is opened for a small gift. Like a pilgrim, the newcomer creeps about un.o.bserved; he approaches the most sublime and holy treasures in an unseemly garment. As yet he permits no detail to distract him, the whole affects him with endless variety, and he already feels the harmony which finally must arise for him out of these infinitely diversified elements. He gazes upon, he examines everything, and to make his happiness complete, he is taken for an artist, as every one in his heart would gladly be.

In lieu of further observations, we submit to our readers the overpowering influence of the situation, as a friend has clearly and sympathetically described it.

"Rome is a place where all antiquity is concentrated into a unity for our inspection. What we have felt with the ancient poets, concerning ancient forms of government, we believe more than ever to feel, even to see, in Rome. As Homer cannot be compared with other poets, so Rome can be compared with no other city, the Roman country with no other landscape. Most of this impression is no doubt due, it is true, to ourselves, and not to the subject; but it is not only the sentimental thought of standing where this or that great man has stood, it is an irresistible attraction toward what we regard as--although it may be through a necessary deception--a n.o.ble and sublime past; a power which even he who wished to cannot resist, because the desolation in which the present inhabitants leave the land and the incredible ma.s.ses of ruins themselves attract and convince the eye. And as this past appears to the mind in a grandeur which excludes all envy, in which one is more than happy to take part, if only with the imagination (indeed, no other partic.i.p.ation is conceivable); and as the senses too are charmed by the beauty of form, the grandeur and simplicity of the figures, the richness of the vegetation (though not luxuriant like that of a more southern region), the precision of the outlines in the clear air and the beauty of the colors in their transparency--so the enjoyment of nature is here a purely artistic one, free from everything distracting. Everywhere else the ideas of contrast appear and the enjoyment of nature is elegiac or satiric. It is true that these sentiments exist only for us. To Horace, Tibur seemed more modern than does Tivoli to us, as is proved by his 'Beatus ille qui procul negotiis,' but it is only an illusion to imagine that we ourselves would like to be inhabitants of Athens or Rome. Only in the distance, separated from everything common, only as a thing of the past, must antiquity appear to us. This is the sentiment of a friend and myself, at least, in regard to the ruins; we are always incensed when a half sunken ruin is excavated; for this can only be a gain for scholars.h.i.+p at the expense of the imagination. There are only two things which inspire me with an equal horror: that the Campagna di Roma should be built up, and that Rome should become a well policed city, in which no man any longer carried a knife. Should such an order-loving Pope appear--which may the seventy-two cardinals prevent--shall move away. Only if such divine anarchy and such a heavenly wilderness remain in Rome, is there place for the shadows, one of which is worth more than the whole present race."

RAFAEL MENGS

But Winckelmann might have groped a long time among the mult.i.tudes of antique survivals in search of the most valuable objects and those most worthy of his observation, if good fortune had not immediately brought him into contact with Mengs. The latter, whose own great talent was enthralled by the ancient works of art and especially by such as were beautiful, immediately introduced his friend to the most excellent--a fact worthy of our attention. Here Winckelmann learned to recognize beauty of form and its treatment, and was immediately inspired to undertake a treatise, _Concerning the Taste of the Greek Artists_. But one cannot go about studying works of art for any length of time without discovering that they are the productions not only of different artists but of different epochs, and that all investigations concerning the place of their origin, their age, their individual merit must be undertaken together. Winckelmann, with his unerring perception, soon found that this was the axis on which the entire knowledge of art revolves. He confined himself at first to the most sublime works, which he intended to present in a treatise, _Concerning the Style of Sculpture in the Age of Phidias_, but he soon rose above these details to the idea of a history of art, and discovered a new Columbus, a land long surmised, hinted at and discussed--yea, a land, we might say, that had formerly been known and forgotten.

It is sad to observe how at first through the Romans, afterward through the invasion of northern peoples, and the confusion arising in consequence, mankind came into such a state that all true and pure culture was for a long time r.e.t.a.r.ded in its development, indeed was almost made impossible for the entire future. In any field of art and science that we may contemplate, a direct and unerring perception had already revealed much to the ancient investigator which, during the barbarism which followed, and through the barbaric manner of escaping from barbarism, became and remained a secret; which it will long continue to be for the ma.s.ses, because the general progress of higher culture in modern times is but slow. This remark does not apply to technical progress, of which mankind happily makes use without asking questions as to whence it comes and whither it leads.

We are impelled to this observation by certain pa.s.sages of ancient authors, in which antic.i.p.ations, even indications, of a possible and necessary history of art appear. Velleius Paterculus observes with great interest, the coincidence in the rise and fall of all the arts. As a man of the world, he was especially concerned with the observation that they could be maintained only for a short time at the highest point which it was possible for them to reach.

From his standpoint he could not regard all arts as a living ent.i.ty [Greek: (psoon)], which must necessarily reveal an imperceptible beginning, a slow growth, a short and brilliant period of perfection, and a gradual decline--like every other organic being, except that it is manifested in a number of individuals. He therefore a.s.signs only moral causes, which certainly must be included as contributory, but hardly satisfy his own great sagacity, because he probably feels that a necessity here exists which cannot be compounded out of detached elements.

"That the grammarians, painters and sculptors fared as did also the orators, every one will find who examines the testimony of the ages; the highest development of every art is invariably circ.u.mscribed by a very short s.p.a.ce of time. Just why a number of similarly endowed, capable men make their appearance within a certain cycle of years and devote themselves to the same art and its advancement, is a matter upon which I have often reflected, without discovering any cause that I might present as true. Among the most probable causes the following seem to me the most important: Rivalry nourishes the talents; here envy, and there admiration, incite to imitation, and the art promoted with so much diligence quickly reaches its culmination. It is difficult to remain in a state of perfection, and what does not advance retrogrades. And so in the beginning we endeavor to attain our models, but when we despair of surpa.s.sing or even approaching them, diligence and hope grow old, and what we fail to attain, is no longer pursued. We cease to strive after the possession already obtained by another, and search for something new. Relinquis.h.i.+ng that in which we cannot s.h.i.+ne, we seek another goal for our efforts. From this inconstancy, it seems to me, arises the greatest obstacle to the production of perfect works of art."

A pa.s.sage of Quintilian, containing a concise outline of the history of ancient art, also deserves to be pointed out as an important doc.u.ment in this domain. In his conversations with Roman art lovers, Quintilian must also have noticed a striking resemblance between the character of Greek artists and Roman orators, and then have sought to gain more exact information from connoisseurs and art-lovers. In his comparative presentation, in which the character of the art is each time a.s.sociated with that of the age, he is compelled, without knowing or wis.h.i.+ng it, to present a history of art.

They say that the first celebrated painters whose works are visited not by reason of their antiquity alone, were Polygnotus and Aglaophon. Their simple color still finds eager admirers, who prefer such crude productions and the beginnings of an art just evolving, to the greatest masters of the following epoch--as it seems to me in accordance with a point of view peculiar to themselves. Afterward Zeuxis and Parrhasius, who lived at about the same period--at the time of the Peloponnesian war--greatly promoted art. The former is said to have discovered the laws of light and shadow, the latter to have devoted himself to a careful investigation of lines. Furthermore, Zeuxis gave more content to the limbs and painted them fuller and more portly. In this regard, as is believed, he followed Homer, who delights in the most powerful forms, even in women. Parrhasius, however, has such a determinative influence that he is called the law-giver of painting, because the types of G.o.ds and heroes which he created were followed and adopted by others as norms.

Thus painting flourished from about the time of Philip to that of the successors of Alexander, but with great diversity of talent. Protogenes surpa.s.sed all inexact.i.tude, Pamphilius and Melanthius in thoughtfulness, Antiphilus in facility, Theon the Samian in invention of strange apparitions called fantasies, Apelles in spirit and charm. Euphranor is admired because he must be counted among the best in all the requirements of art, and excelled at the same time in painting and sculpture.

"The same difference is also found in sculpture. Kalon and Hegesias worked in a severe style, like that of the Etruscans; Kalamis was less austere; Myron more delicate still.

"Polyc.l.i.tus possessed diligence and elegance above all others. By many the palm is a.s.signed to him; but that some fault might be ascribed to him, it was said that he lacked dignity. For while he has made the human form more graceful than nature reveals it, he does not seem to have been able to present the dignity of the G.o.ds. Indeed, he is said in his art to have avoided representing mature age, and never to have ventured beyond unfurrowed cheeks.

"But what Polyc.l.i.tus lacked is ascribed to Phidias and Alcamenes.

Phidias is said to have formed the images of G.o.ds and men most perfectly, and to have far surpa.s.sed his rivals, especially in ivory.