Modern Painters Volume II Part 5

-- 14. The beauty of curvature.

Now, although I doubt not that the general value of this treatment will be acknowledged by all lovers of art, it is not certain that the point to prove which I have brought it forward, will be as readily conceded, namely, the inherent power of all representations of infinity over the human heart; for there are, indeed, countless a.s.sociations of pure and religious kind, which combine with each other to enhance the impression, when presented in this particular form, whose power I neither deny nor am careful to distinguish, seeing that they all tend to the same Divine point, and have reference to heavenly hopes; delights they are in seeing the narrow, black, miserable earth fairly compared with the bright firmament, reachings forward unto the things that are before, and joyfulness in the apparent though unreachable nearness and promise of them. But there are other modes in which infinity may be represented, which are confused by no a.s.sociations of the kind, and which would, as being in mere matter, appear trivial and mean, but for their incalculable influence on the forms of all that we feel to be beautiful.

The first of these is the curvature of lines and surfaces, wherein it at first appears futile to insist upon any resemblance or suggestion of infinity, since there is certainly in our ordinary contemplation of it, no sensation of the kind. But I have repeated again and again that the ideas of beauty are instinctive, and that it is only upon consideration, and even then in doubtful and disputable way, that they appear in their typical character; neither do I intend at all to insist upon the particular meaning which they appear to myself to bear, but merely on their actual and demonstrable agreeableness, so that, in the present case, while I a.s.sert positively, and have no fear of being able to prove, that a curve of any kind is more beautiful than a right line, I leave it to the reader to accept or not, as he pleases, that reason of its agreeableness, which is the only one that I can at all trace, namely, that every curve divides itself infinitely by its changes of direction.

-- 15. How constant in external nature.

That all forms of acknowledged beauty are composed exclusively of curves will, I believe, be at once allowed; but that which there will be need more especially to prove, is the subtilty and constancy of curvature in all natural forms whatsoever. I believe that, except in crystals, in certain mountain forms admitted for the sake of sublimity or contrast, (as in the slope of debris,) in rays of light, in the levels of calm water and alluvial land, and in some few organic developments, there are no lines nor surfaces of nature without curvature, though as we before saw in clouds, more especially in their under lines towards the horizon, and in vast and extended plains, right lines are often suggested which are not actual. Without these we could not be sensible of the value of the contrasting curves, and while, therefore, for the most part, the eye is fed in natural forms with a grace of curvature which no hand nor instrument can follow, other means are provided to give beauty to those surfaces which are admitted for contrast, as in water by its reflection of the gradations which it possesses not itself. In freshly-broken ground, which nature has not yet had time to model, in quarries and pits which are none of her cutting, in those convulsions and evidences of convulsion, of whose influence on ideal landscape I shall presently have occasion to speak, and generally in all ruin and disease, and interference of one order of being with another, (as in the cattle line of park trees,) the curves vanish, and violently opposed or broken and unmeaning lines take their place.

-- 16. The beauty of gradation.

What curvature is to lines, gradation is to shades and colors. It is _there_ infinity, and divides them into an infinite number of degrees.

Absolutely, without gradation no natural surface can possibly be, except under circ.u.mstances of so rare conjunction as to amount to a lusus naturae; for we have seen that few surfaces are without curvature, and every curved surface must be gradated by the nature of light, which is most intense when it impinges at the highest angle, and for the gradation of the few plane surfaces that exist, means are provided in local color, aerial perspective, reflected lights, etc., from which it is but barely conceivable that they should ever escape. Hence for instances of the complete absence of gradation we must look to man's work, or to his disease and decrepitude. Compare the gradated colors of the rainbow with the stripes of a target, and the gradual concentration of the youthful blood in the cheek with an abrupt patch of rouge, or with the sharply drawn veining of old age.

-- 17. How found in Nature.

Gradation is so inseparable a quality of all natural shade and color that the eye refuses in art to understand anything as either, which appears without it, while on the other hand nearly all the gradations of nature are so subtile and between degrees of tint so slightly separated, that no human hand can in any wise equal, or do anything more than suggest the idea of them. In proportion to the s.p.a.ce over which gradation extends, and to its invisible subtilty, is its grandeur, and in proportion to its narrow limits and violent degrees, its vulgarity.

In Correggio, it is morbid and vulgar in spite of its refinement of execution, because the eye is drawn to it, and it is made the most observable and characteristic part of the picture; whereas natural gradation is forever escaping observation to that degree that the greater part of artists in working from nature see it not, (except in certain of its marked developments,) but either lay down such continuous lines and colors, as are both disagreeable and impossible, or, receiving the necessity of gradation as a principle instead of a fact, use it in violently exaggerated measure, and so lose both the dignity of their own work, and by the constant dwelling of their eyes upon exaggerations, their sensibility to that of the natural forms. So that we find the majority of painters divided between the two evil extremes of insufficiency and affectation, and only a few of the greatest men capable of making gradation constant and yet extended over enormous s.p.a.ces and within degrees of narrow difference, as in the body of a high light.

-- 18. How necessary in Art.

From the necessity of gradation results what is commonly given as a rule of art, though its authority as a rule obtains only from its being a fact of nature, that the extremes of high light and pure color, can exist only in points. The common rules respecting sixths and eighths, held concerning light and shade, are entirely absurd and conventional; according to the subject and the effect of light, the greater part of the picture will be or ought to be light or dark; but that principle which is not conventional, is that of all light, however high, there is some part that is higher than the rest, and that of all color, however pure, there is some part that is purer than the rest, and that generally of all shade, however deep, there is some part deeper than the rest, though this last fact is frequently sacrificed in art, owing to the narrowness of its means. But on the right gradation or focussing of light and color depends in great measure, the value of both. Of this, I have spoken sufficiently in pointing out the singular constancy of it in the works of Turner. Part II. Sect. II. Chap. II. -- 17. And it is generally to be observed that even raw and valueless color, if rightly and subtilely gradated will in some measure stand for light, and that the most transparent and perfect hue will be in some measure unsatisfactory, if entirely unvaried. I believe the early skies of Raffaelle owe their luminousness more to their untraceable and subtile gradation than to inherent quality of hue.

-- 19. Infinity not rightly implied by vastness.

Such are the expressions of infinity which we find in creation, of which the importance is to be estimated, rather by their frequency than their distinctness. Let, however, the reader bear constantly in mind that I insist not on his accepting any interpretation of mine, but only on his dwelling so long on those objects, which he perceives to be beautiful, as to determine whether the qualities to which I trace their beauty, be necessarily there or no. Farther expressions of infinity there are in the mystery of nature, and in some measure in her vastness, but these are dependent on our own imperfections, and therefore, though they produce sublimity, they are unconnected with beauty. For that which we foolishly call vastness is, rightly considered, not more wonderful, not more impressive, than that which we insolently call littleness, and the infinity of G.o.d is not mysterious, it is only unfathomable, not concealed, but incomprehensible: it is a clear infinity, the darkness of the pure unsearchable sea.

FOOTNOTES

[13] In one of the smaller rooms of the Pitti palace, over the door, is a temptation of St. Anthony, by Salvator, wherein such power as the artist possessed is fully manifested, with little, comparatively, that is offensive. It is a vigorous and ghastly thought, in that kind of horror which is dependent on scenic effect, perhaps unrivalled, and I shall have occasion to refer to it again in speaking of the powers of imagination. I allude to it here, because the sky of the distance affords a remarkable instance of the power of light at present under discussion. It is formed of flakes of black cloud, with rents and openings of intense and lurid green, and at least half of the impressiveness of the picture depends on these openings. Close them, make the sky one ma.s.s of gloom, and the spectre will be awful no longer. It owes to the light of the distance both its size and its spirituality. The time would fail me if I were to name the tenth part of the pictures which occur to me, whose vulgarity is redeemed by this circ.u.mstance alone, and yet let not the artist trust to such morbid and conventional use of it as may be seen in the common blue and yellow effectism of the present day. Of the value of moderation and simplicity in the use of this, as of all other sources of pleasurable emotion, I shall presently have occasion to speak farther.

CHAPTER VI.

OF UNITY, OR THE TYPE OF THE DIVINE COMPREHENSIVENESS.

-- 1. The general conception of divine Unity.

"All things," says Hooker, "(G.o.d only excepted,) besides the nature which they have in themselves, receive externally some perfection from other things." Hence the appearance of separation or isolation in anything, and of self-dependence, is an appearance of imperfection: and all appearances of connection and brotherhood are pleasant and right, both as significative of perfection in the things united, and as typical of that Unity which we attribute to G.o.d, and of which our true conception is rightly explained and limited by Dr. Brown in his XCII.

lecture; that Unity which consists not in his own singleness or separation, but in the necessity of his inherence in all things that be, without which no creature of any kind could hold existence for a moment.

Which necessity of Divine essence I think it better to speak of as comprehensiveness, than as unity, because unity is often understood in the sense of oneness or singleness, instead of universality, whereas the only Unity which by any means can become grateful or an object of hope to men, and whose types therefore in material things can be beautiful, is that on which turned the last words and prayer of Christ before his crossing of the Kidron brook. "Neither pray I for these alone, but for them also which shall believe on me through their word. That they all may be one, as thou, Father, art in me, and I in thee."

-- 2. The glory of all things is their Unity.

And so there is not any matter, nor any spirit, nor any creature, but it is capable of an unity of some kind with other creatures, and in that unity is its perfection and theirs, and a pleasure also for the beholding of all other creatures that can behold. So the unity of spirits is partly in their sympathy, and partly in their giving and taking, and always in their love; and these are their delight and their strength, for their strength is in their co-working and army fellows.h.i.+p, and their delight is in the giving and receiving of alternate and perpetual currents of good, their inseparable dependency on each other's being, and their essential and perfect depending on their Creator's: and so the unity of earthly creatures is their power and their peace, not like the dead and cold peace of undisturbed stones and solitary mountains, but the living peace of trust, and the living power of support, of hands that hold each other and are still: and so the unity of matter is, in its n.o.blest form, the organization of it which builds it up into temples for the spirit, and in its lower form, the sweet and strange affinity, which gives to it the glory of its orderly elements, and the fair variety of change and a.s.similation that turns the dust into the crystal, and separates the waters that be above the firmament from the waters that be beneath, and in its lowest form; it is the working and walking and clinging together that gives their power to the winds, and its syllables and soundings to the air, and their weight to the waves, and their burning to the sunbeams, and their stability to the mountains, and to every creature whatsoever operation is for its glory and for others good.

Now of that which is thus necessary to the perfection of all things, all appearance, sign, type, or suggestion must be beautiful, in whatever matter it may appear. And so to the perfection of beauty in lines, or colors, or forms, or ma.s.ses, or mult.i.tudes, the appearance of some species of unity is in the most determined sense of the word essential.

-- 3. The several kinds of unity. Subjectional. Original. Of sequence, and of members.h.i.+p.

But of the appearances of unity, as of unity itself, there are several kinds which it will be found hereafter convenient to consider separately. Thus there is the unity of different and separate things, subjected to one and the same influence, which may be called subjectional unity, and this is the unity of the clouds, as they are driven by the parallel winds, or as they are ordered by the electric currents, and this the unity of the sea waves, and this of the bending and undulation of the forest ma.s.ses, and in creatures capable of will it is the unity of will or of inspiration. And there is unity of origin, which we may call original unity, which is of things arising from one spring and source, and speaking always of this their brotherhood, and this in matter is the unity of the branches of the trees, and of the petals and starry rays of flowers, and of the beams of light, and in spiritual creatures it is their filial relation to Him from whom they have their being. And there is unity of sequence, which is that of things that form links in chains, and steps in ascent, and stages in journeys, and this, in matter, is the unity of communicable forces in their continuance from one thing to another, and it is the pa.s.sing upwards and downwards of beneficent effects among all things, and it is the melody of sounds, and the beauty of continuous lines, and the orderly succession of motions and times. And in spiritual creatures it is their own constant building up by true knowledge and continuous reasoning to higher perfection, and the singleness and straight-forwardness of their tendencies to more complete communion with G.o.d. And there is the unity of members.h.i.+p, which we may call essential unity, which is the unity of things separately imperfect into a perfect whole, and this is the great unity of which other unities are but parts and means, it is in matter the harmony of sounds and consistency of bodies, and among spiritual creatures, their love and happiness and very life in G.o.d.

-- 4. Unity of members.h.i.+p. How secured.

Now of the nature of this last kind of unity, the most important whether in moral or in those material things with which we are at present concerned, there is this necessary to be observed, that it cannot exist between things similar to each other. Two or more equal and like things cannot be members one of another, nor can they form one, or a whole thing. Two they must remain, both in nature and in our conception, so long as they remain alike, unless they are united by a third different from both. Thus the arms, which are like each other, remain two arms in our conception. They could not be united by a third arm, they must be united by something which is not an arm, and which, imperfect without them as they without it, shall form one perfect body; nor is unity even thus accomplished, without a difference and opposition of direction in the setting on of the like members. Therefore among all things which are to have unity of members.h.i.+p one with another, there must be difference or variety; and though it is possible that many like things may be made members of one body, yet it is remarkable that this structure appears characteristic of the lower creatures, rather than the higher, as the many legs of the caterpillar, and the many arms and suckers of the radiata, and that, as we rise in order of being, the number of similar members becomes less, and their structure commonly seems based on the principle of the unity of two things by a third, as Plato has it in the Timaeus, -- II.

-- 5. Variety. Why required.

Hence, out of the necessity of unity, arises that of variety, a necessity often more vividly, though never so deeply felt, because lying at the surfaces of things, and a.s.sisted by an influential principle of our nature, the love of change, and the power of contrast. But it is a mistake which has led to many unfortunate results, in matters respecting art, to insist on any inherent agreeableness of variety, without reference to a farther end. For it is not even true that variety as such, and in its highest degree, is beautiful. A patched garment of many colors is by no means so agreeable as one of a single and continuous hue; the splendid colors of many birds are eminently painful from their violent separation and inordinate variety, while the pure and colorless swan is, under certain circ.u.mstances, the most beautiful of all feathered creatures.[14] A forest of all manner of trees is poor, if not disagreeable in effect,[15] a ma.s.s of one species of tree is sublime. It is therefore only harmonious and chordal variety, that variety which is necessary to secure and extend unity, (for the greater the number of objects, which by their differences become members of one another, the more extended and sublime is their unity,) which is rightly agreeable, and so I name not variety as essential to beauty, because it is only so in a secondary and casual sense.[16]

-- 6. Change, and its influence on beauty.

-- 7. The love of change. How morbid and evil.

Of the love of change as a principle of human nature, and the pleasantness of variety resulting from it, something has already been said, (Ch. IV. -- 4,) only as there I was opposing the idea that our being familiar with objects was the cause of our delight in them, so here, I have to oppose the contrary position, that their strangeness is the cause of it. For neither familiarity nor strangeness have more operation on, or connection with, impressions of one sense than of another, and they have less power over the impressions of sense generally, than over the intellect in its joyful accepting of fresh knowledge, and dull contemplation of that it has long possessed. Only in their operation on the senses they act contrarily at different times, as for instance the newness of a dress or of some kind of unaccustomed food may make it for a time delightful, but as the novelty pa.s.ses away, so also may the delight, yielding to disgust or indifference, which in their turn, as custom begins to operate, may pa.s.s into affection and craving, and that which was first a luxury, and then a matter of indifference, becomes a necessity:[17] whereas in subjects of the intellect, the chief delight they convey is dependent upon their being newly and vividly comprehended, and as they become subjects of contemplation they lose their value, and become tasteless and unregarded, except as instruments for the reaching of others, only that though they sink down into the shadowy, effectless, heap of things indifferent, which we pack, and crush down, and stand upon, to reach things new, they sparkle afresh at intervals as we stir them by throwing a new stone into the heap, and letting the newly admitted lights play upon them. And both in subjects of the intellect and the senses it is to be remembered, that the love of change is a weakness and imperfection of our nature, and implies in it the state of probation, and that it is to teach us that things about us here are not meant for our continual possession or satisfaction, that ever such pa.s.sion of change was put in us as that "custom lies upon us with a weight, heavy as frost, and deep almost as life," and only such weak back and baby grasp given to our intellect as that "the best things we do are painful, and the exercise of them grievous, being continued without intermission, so as in those very actions whereby we are especially perfected in this life we are not able to persist." And so it will be found that they are the weakest-minded and the hardest-hearted men that most love variety and change, for the weakest-minded are those who both wonder most at things new, and digest worst things old, in so far that everything they have lies rusty, and loses l.u.s.tre for want of use; neither do they make any stir among their possessions, nor look over them to see what may be made of them, nor keep any great store, nor are householders with storehouses of things new and old, but they catch at the new-fas.h.i.+oned garments, and let the moth and thief look after the rest; and the hardest-hearted men are those that least feel the endearing and binding power of custom, and hold on by no cords of affection to any sh.o.r.e, but drive with the waves that cast up mire and dirt. And certainly it is not to be held that the perception of beauty and desire of it, are greatest in the hardest heart and weakest brain; but the love of variety is so, and therefore variety can be no cause of the beautiful, except, as I have said, when it is necessary for the perception of unity, neither is there any better test of that which is indeed beautiful than its surviving or annihilating the love of change; and this is a test which the best judges of art have need frequently to use; and the wisest of them will use it always, for there is much in art that surprises by its brilliancy, or attracts by its singularity, that can hardly but by course of time, though a.s.suredly it will by course of time, be winnowed away from the right and real beauty whose retentive power is forever on the increase, a bread of the soul for which the hunger is continual.

-- 8. The conducting of variety towards unity of subjection.

Receiving, therefore, variety only as that which accomplishes unity, or makes it perceived, its operation is found to be very precious, both in that which I have called unity of subjection, and unity of sequence, as well as in unity of members.h.i.+p; for although things in all respects the same may, indeed, be subjected to one influence, yet the power of the influence, and their obedience to it, is best seen by varied operation of it on their individual differences, as in clouds and waves there is a glorious unity of rolling, wrought out by the wild and wonderful differences of their absolute forms, which, if taken away, would leave in them only mult.i.tudinous and petty repet.i.tion, instead of the majestic oneness of shared pa.s.sion. And so in the waves and clouds of human mult.i.tude when they are filled with one thought, as we find frequently in the works of the early Italian men of earnest purpose, who despising, or happily ignorant of, the sophistications of theories, and the proprieties of composition, indicated by perfect similarity of action and gesture on the one hand, and by the infinite and truthful variation of expression on the other, the most sublime strength because the most absorbing unity, of mult.i.tudinous pa.s.sion that ever human heart conceived. Hence, in the cloister of St. Mark's, the intense, fixed, statue-like silence of ineffable adoration upon the spirits in prison at the feet of Christ, side by side, the hands lifted, and the knees bowed, and the lips trembling together;[18] and in St. Domenico of Fiesole,[19]

that whirlwind rush of the Angels and the redeemed souls round about him at his resurrection, so that we hear the blast of the horizontal trumpets mixed with the dying clangor of their ingathered wings. The same great feeling occurs throughout the works of the serious men, though most intensely in Angelico, and it is well to compare with it the vileness and falseness of all that succeeded, when men had begun to bring to the cross foot their systems instead of their sorrow. Take as the most marked and degraded instance, perhaps, to be anywhere found, Bronzino's treatment of the same subject (Christ visiting the spirits in prison,) in the picture now in the Tuscan room of the Uffizii, which, vile as it is in color, vacant in invention, void in light and shade, a heap of c.u.mbrous nothingnesses, and sickening offensivenesses, is of all its voids most void in this, that the academy models therein huddled together at the bottom, show not so much unity or community of attention to the academy model with the flag in its hand above, as a street crowd would be to a fresh-staged charlatan. Some _point_ to the G.o.d who has burst the gates of death, as if the rest were incapable of distinguis.h.i.+ng him for themselves, and others turn their backs upon him, to show their unagitated faces to the spectator.

-- 9. And towards unity of sequence.

In unity of sequence, the effect of variety is best exemplified by the melodies of music, wherein by the differences of the notes, they are connected with each other in certain pleasant relations. This connection taking place in quant.i.ties is proportion, respecting which certain general principles must be noted, as the subject is one open to many errors, and obscurely treated of by writers on art.

-- 10. The nature of proportion. 1st, of apparent proportion.

Proportion is of two distinct kinds. Apparent: when it takes place between qualities for the sake of connection only, without any ultimate object or casual necessity; and constructive: when it has reference to some function to be discharged by the quant.i.ties, depending on their proportion. From the confusion of these two kinds of proportion have arisen the greater part of the erroneous conceptions of the influence of either.

Apparent proportion, or the sensible relation of quant.i.ties, is one of the most important means of obtaining unity between things which otherwise must have remained distinct in similarity, and as it may consist with every other kind of unity, and persist when every other means of it fails, it may be considered as lying at the root of most of our impressions of the beautiful. There is no sense of rightness, or wrongness connected with it, no sense of utility, propriety, or expediency. These ideas enter only where the proportion of quant.i.ties has reference to some function to be performed by them. It cannot be a.s.serted that it is right or that it is wrong that A should be to B, as B to C; unless A, B, and C have some desirable operation dependent on that relation. But nevertheless it may be highly agreeable to the eye that A, B, and C, if visible things, should have visible connection of ratio, even though nothing be accomplished by such connection. On the other hand, constructive proportion, or the adaptation of quant.i.ties to functions, is agreeable not to the eye, but to the mind, which is cognizant of the function to be performed. Thus the pleasantness or rightness of the proportions of a column depends not on the mere relation of diameter and height, (which is not proportion at all, for proportion is between three terms at least,) but on three other involved terms, the strength of materials, the weight to be borne, and the scale of the building. The proportions of a wooden column are wrong in a stone one, and of a small building wrong in a large one,[20] and this owing solely to mechanical considerations, which have no more to do with ideas of beauty, than the relation between the arms of a lever, adapted to the raising of a given weight; and yet it is highly agreeable to perceive that such constructive proportion has been duly observed, as it is agreeable to see that anything is fit for its purpose or for ours, and also that it has been the result of intelligence in the workman of it, so that we sometimes feel a pleasure in apparent non-adaptation, if it be a sign of ingenuity; as in the unnatural and seemingly impossible lightness of Gothic spires and roofs.

Now, the errors against which I would caution the reader in this matter are three. The first, is the overlooking or denial of the power of apparent proportion, of which power neither Burke nor any other writer whose works I have met with, take cognizance. The second, is the attribution of _beauty_ to the appearances of constructive proportion.

The third, the denial with Burke of _any_ value or agreeableness in constructive proportion.