Modern Painters Volume II Part 8

It may seem strange to many readers that I have not spoken of purity in that sense in which it is most frequently used, as a type of sinlessness. I do not deny that the frequent metaphorical use of it in Scripture may have and ought to have much influence on the sympathies with which we regard it, and that probably the immediate agreeableness of it to most minds arises far more from this source than from that to which I have chosen to attribute it. But, in the first place, if it be indeed in the signs of Divine and not of human attributes that beauty consists, I see not how the idea of sin can be formed with respect to the Deity, for it is an idea of a relation borne by us to Him, and not in any way to be attached to his abstract nature. And if the idea of sin is incapable of being formed with respect to Him, so also is its negative, for we cannot form an idea of negation, where we cannot form an idea of presence. If for instance one could conceive of taste or flavor in a proposition of Euclid, so also might we of insipidity, but if not of the one, then not of the other. So that, in speaking of the goodness of G.o.d, it cannot be that we mean anything more than his Love, Mercifulness, and Justice, and these attributes I have shown to be expressed by other qualities of beauty, and I cannot trace any rational connection between them and the idea of spotlessness in matter. Neither can I trace any more distinct relation between this idea, and any of the virtues which make up the righteousness of man, except perhaps those of truth and openness, of which I have already spoken as more expressed by the transparency than the mere purity of matter. So that I conceive the whole use of the terms purity, spotlessness, etc., in moral subjects, to be merely metaphorical, and that it is rather that we ill.u.s.trate these virtues by the desirableness of material purity, than that we desire material purity because it is ill.u.s.trative of these virtues.

-- 7. Energy, how expressed by purity of matter.

I repeat, then, that the only idea which I think can be legitimately connected with purity of matter, is this of vital and energetic connection among its particles, and that the idea of foulness is essentially connected with dissolution and death. Thus the purity of the rock, contrasted with the foulness of dust or mould, is expressed by the epithet "living," very singularly given in the rock, in almost all languages; singularly I say, because life is almost the last attribute one would ascribe to stone, but for this visible energy and connection of its particles: and so of water as opposed to stagnancy. And I do not think that, however pure a powder or dust may be, the idea of beauty is ever connected with it, for it is not the mere purity, but the _active_ condition of the substance which is desired, so that as soon as it shoots into crystals, or gathers into efflorescence, a sensation of _active_ or real purity is received which was not felt in the calcined caput mortuum.

-- 8. And of color.

-- 9. Spirituality, how so expressed.

And again in color. I imagine that the quality of it which we term purity is dependent on the full energizing of the rays that compose it, whereof if in compound hues any are overpowered and killed by the rest, so as to be of no value nor operation, foulness is the consequence; while so long as all act together, whether side by side, or from pigments seen one through the other, so that all the coloring matter employed comes into play in the harmony desired, and none be quenched nor killed, purity results. And so in all cases I suppose that pureness is made to us desirable, because expressive of the constant presence and energizing of the Deity in matter, through which all things live and move, and have their being, and that foulness is painful as the accompaniment of disorder and decay, and always indicative of the withdrawal of Divine support. And the practical a.n.a.logies of life, the invariable connection of outward foulness with mental sloth and degradation, as well as with bodily lethargy and disease, together with the contrary indications of freshness and purity belonging to every healthy and active organic frame, (singularly seen in the effort of the young leaves when first their inward energy prevails over the earth, pierces its corruption, and shakes its dust away from their own white purity of life,) all these circ.u.mstances strengthen the instinct by a.s.sociations countless and irresistible. And then, finally, with the idea of purity comes that of spirituality, for the essential characteristic of matter is its inertia, whence, by adding to it purity or energy, we may in some measure spiritualize even matter itself. Thus in the descriptions of the Apocalypse it is its purity that fits it for its place in heaven; the river of the water of life, that proceeds out of the throne of the Lamb, is clear as crystal, and the pavement of the city is pure gold, like unto clear gla.s.s.[28]

FOOTNOTES

[26] The reader will observe that I am speaking at present of mere material qualities. If he would obtain perfect ideas respecting loveliness of luminous surface, let him closely observe a swan with its wings expanded in full light five minutes before sunset. The human cheek or the rose leaf are perhaps hardly so pure, and the forms of snow, though individually as beautiful, are less exquisitely combined.

[27] [Greek: hos d' ote tis t' elephanta gyne phoiniki miene Meonis.]

So Spenser of Shamefacedness, an exquisite piece of glowing color--and sweetly of Belphoebe--(so the roses and lilies of all poets.) Compare the making of the image of Florimell.

"The substance whereof she the body made Was purest snow, in ma.s.sy mould congealed, Which she had gathered in a shady glade Of the Riphoean hills.

The same she tempered with fine mercury, And mingled them with perfect vermily."

With Una he perhaps overdoes the white a little. She is two degrees of comparison above snow. Compare his questioning in the Hymn to Beauty, about that mixture made of colors fair; and goodly temperament, of pure complexion.

"Hath white and red in it such wondrous power That it can pierce through the eyes into the heart?"

Where the distinction between typical and vital beauty is very gloriously carried out.

[28] I have not spoken here of any of the a.s.sociations connected with warmth or coolness of color, they are partly connected with vital beauty, compare Chap. xiv. -- 22, 23, and partly with impressions of the sublime, the discussion of which is foreign to the present subject; purity, however, it is which gives value to both, for neither warm nor cool color, can be beautiful, if impure.

Neither have I spoken of any questions relating to melodies of color, a subject of separate science--whose general principle has been already stated in the seventh chapter respecting unity of sequence. Those qualities only are here noted which give absolute beauty, whether to separate color or to melodies of it--for all melodies are not beautiful, but only those which are expressive of certain pleasant or solemn emotions; and the rest startling, or curious, or cheerful, or exciting, or sublime, but not beautiful, (and so in music.) And all questions relating to this grandeur, cheerfulness, or other characteristic impression of color must be considered under the head of ideas of relation.

CHAPTER X.

OF MODERATION, OR THE TYPE OF GOVERNMENT BY LAW.

-- 1. Meaning of the terms Chasteness and Refinement.

Of objects which, in respect of the qualities. .h.i.therto considered, appear to have equal claims to regard, we find, nevertheless, that certain are preferred to others in consequence of an attractive power, usually expressed by the terms "chasteness, refinement, or elegance,"

and it appears also that things which in other respects have little in them of natural beauty, and are of forms altogether simple and adapted to simple uses, are capable of much distinction and desirableness in consequence of these qualities only. It is of importance to discover the real nature of the ideas thus expressed.

-- 2. How referable to temporary fas.h.i.+ons.

Something of the peculiar meaning of the words is referable to the authority of fas.h.i.+on and the exclusiveness of pride, owing to which that which is the mode of a particular time is submissively esteemed, and that which by its costliness or its rarity is of difficult attainment, or in any way appears to have been chosen as the best of many things, (which is the original sense of the words elegant and exquisite,) is esteemed for the witness it bears to the dignity of the chooser.

But neither of these ideas are in any way connected with eternal beauty, neither do they at all account for that agreeableness of color and form which is especially termed chasteness, and which it would seem to be a characteristic of rightly trained mind in all things to prefer, and of common minds to reject.

-- 3. How to the perception of completion.

-- 4. Finish, by great masters esteemed essential.

There is however another character of artificial productions, to which these terms have partial reference, which it is of some importance to note, that of finish, exactness, or refinement, which are commonly desired in the works of men, owing both to their difficulty of accomplishment and consequent expression of care and power (compare Chapter on Ideas of Power, Part I. Sect, i.,) and from their greater resemblance to the working of G.o.d, whose "absolute exactness," says Hooker, "all things imitate, by tending to that which is most exquisite in every particular." And there is not a greater sign of the imperfection of general taste, than its capability of contentment with forms and things which, professing completion, are yet not exact nor complete, as in the vulgar with wax and clay and china figures, and in bad sculptors with an unfinished and clay-like modelling of surface, and curves and angles of no precision or delicacy; and in general, in all common and unthinking persons with an imperfect rendering of that which might be pure and fine, as church-wardens are content to lose the sharp lines of stone carving under clogging obliterations of whitewash, and as the modern Italians sc.r.a.pe away and polish white all the sharpness and glory of the carvings on their old churches, as most miserably and pitifully on St. Mark's at Venice, and the Baptisteries of Pistoja and Pisa, and many others; so also the delight of vulgar painters in coa.r.s.e and slurred painting, merely for the sake of its coa.r.s.eness,[29] as of Spagnoletto, Salvator, or Murillo, opposed to the divine finish which the greatest and mightiest of men disdained not, but rather wrought out with painfulness and life spending; as Leonardo and Michael Angelo, (for the latter, however many things he left unfinished, did finish, if at all, with a refinement that the eye cannot follow, but the feeling only, as in the Pieta of Genoa,) and Perugino always, even to the gilding of single hairs among his angel tresses, and the young Raffaelle, when he was heaven taught, and Angelico, and Pinturicchio, and John Bellini, and all other such serious and loving men. Only it is to be observed that this finish is not a part or const.i.tuent of beauty, but the full and ultimate rendering of it, so that it is an idea only connected with the works of men, for all the works of the Deity are finished with the same, that is, infinite care and completion: and so what degrees of beauty exist among them can in no way be dependent upon this source, inasmuch as there are between them no degrees of care. And therefore, as there certainly is admitted a difference of degree in what we call chasteness, even in Divine work, (compare the hollyhock or the sunflower with the vale lily,) we must seek for it some other explanation and source than this.

-- 5. Moderation, its nature and value

And if, bringing down our ideas of it from complicated objects to simple lines and colors, we a.n.a.lyze and regard them carefully, I think we shall be able to trace them to an under-current of constantly agreeable feeling, excited by the appearance in material things of a self-restrained liberty, that is to say, by the image of that acting of G.o.d with regard to all his creation, wherein, though free to operate in whatever arbitrary, sudden, violent, or inconstant ways he will, he yet, if we may reverently so speak, restrains in himself this his omnipotent liberty, and works always in consistent modes, called by us laws. And this restraint or moderation, according to the words of Hooker, ("that which doth moderate the force and power, that which doth appoint the form and measure of working, the same we term a law,") is in the Deity not restraint, such as it is said of creatures, but, as again says Hooker, "the very being of G.o.d is a law to his working," so that every appearance of painfulness or want of power and freedom in material things is wrong and ugly; for the right restraint, the image of Divine operation, is both in them, and in men, a willing and not painful stopping short of the utmost degree to which their power might reach, and the appearance of fettering or confinement is the cause of ugliness in the one, as the slightest painfulness or effort in restraint is a sign of sin in the other.

-- 6. It is the girdle of beauty.

-- 7. How found in natural curves and colors.

-- 8. How difficult of attainment, yet essential to all good.

I have put this attribute of beauty last, because I consider it the girdle and safeguard of all the rest, and in this respect the most essential of all, for it is possible that a certain degree of beauty may be attained even in the absence of one of its other const.i.tuents, as sometimes in some measure without symmetry or without unity. But the least appearance of violence or extravagance, of the want of moderation and restraint, is, I think, destructive of all beauty whatsoever in everything, color, form, motion, language, or thought, giving rise to that which in color we call glaring, in form inelegant, in motion ungraceful, in language coa.r.s.e, in thought undisciplined, in all unchastened; which qualities are in everything most painful, because the signs of disobedient and irregular operation. And herein we at last find the reason of that which has been so often noted respecting the subtilty and almost invisibility of natural curves and colors, and why it is that we look on those lines as least beautiful which fall into wide and far license of curvature, and as most beautiful which approach nearest (so that the curvilinear character be distinctly a.s.serted) to the government of the right line, as in the pure and severe curves of the draperies of the religious painters; and thus in color it is not red, but rose-color which is most beautiful, neither such actual green as we find in summer foliage partly, and in our painting of it constantly; but such gray green as that into which nature modifies her distant tints, or such pale green and uncertain as we see in sunset sky, and in the clefts of the glacier and the chrysoprase, and the sea-foam; and so of all colors, not that they may not sometimes be deep and full, but that there is a solemn moderation even in their very fulness, and a holy reference beyond and out of their own nature to great harmonies by which they are governed, and in obedience to which is their glory. Whereof the ignorance is shown in all evil colorists by the violence and positiveness of their hues, and by dulness and discordance consequent, for the very brilliancy and real power of all color is dependent on the chastening of it, as of a voice on its gentleness, and as of action on its calmness, and as all moral vigor on self-command. And therefore as that virtue which men last, and with most difficulty attain unto, and which many attain not at all, and yet that which is essential to the conduct and almost to the being of all other virtues, since neither imagination, nor invention, nor industry, nor sensibility, nor energy, nor any other good having, is of full avail without this of self-command, whereby works truly masculine and mighty are produced, and by the signs of which they are separated from that lower host of things brilliant, magnificent and redundant, and farther yet from that of the loose, the lawless, the exaggerated, the insolent, and the profane, I would have the necessity of it foremost among all our inculcating, and the name of it largest among all our inscribing, in so far that, over the doors of every school of Art, I would have this one word, relieved out in deep letters of pure gold,--Moderation.

FOOTNOTES

[29] It is to be carefully noted that when rude execution is evidently not the result of imperfect feeling and desire (as in these men above named, it is) but of thought; either impatient, which there was necessity to note swiftly, or impetuous, which it was well to note in mighty manner, as pre-eminently and in both kinds the case with Tintoret, and often with Michael Angelo, and in lower and more degraded modes with Rubens, and generally in the sketches and first thoughts of great masters; there is received a very n.o.ble pleasure, connected both with ideas of power (compare again Part I. Sect. ii. Chap. I.) and with certain actions of the imagination of which we shall speak presently. But this pleasure is not received from the beauty of the work, for nothing can be perfectly beautiful unless complete, but from its simplicity and sufficiency to its immediate purpose, where the purpose is not of beauty at all, as often in things rough-hewn, pre-eminently for instance in the stones of the foundations of the Pitti and Strozzi palaces, whose n.o.ble rudeness is to be opposed both to the useless polish, and the barbarous rustications of modern times, (although indeed this instance is not without exception to be received, for the majesty of these rocky buildings depends also in some measure upon the real beauty and finish of the natural curvilinear fractures, opposed to the coa.r.s.eness of human chiselling,) and again, as it respects works of higher art, the pleasure of their hasty or imperfect execution is not indicative of their beauty, but of their majesty and fulness of thought and vastness of power. Shade is only beautiful when it magnifies and sets forth the forms of fair things, so negligence is only n.o.ble when it is, as Fuseli hath it, "the shadow of energy." Which that it may be, secure the substance and the shade will follow, but let the artist beware of stealing the manner of giant intellects when he has not their intention, and of a.s.suming large modes of treatment when he has little thoughts to treat. There is large difference between indolent impatience of labor and intellectual impatience of delay, large difference between leaving things unfinished because we have more to do, or because we are satisfied with what we have done. Tintoret, who prayed hard, and hardly obtained, that he might be permitted, the charge of his colors only being borne, to paint a new built house from base to battlement, was not one to shun labor, it is the pouring in upon him of glorious thoughts in inexpressible mult.i.tude that his sweeping hand follows so fast. It is as easy to know the slightness of earnest haste from the slightness of blunt feeling, indolence, or affectation, as it is to know the dust of a race, from the dust of dissolution.

CHAPTER XI.

GENERAL INFERENCES RESPECTING TYPICAL BEAUTY.

-- 1. The subject incompletely treated, yet admitting of general conclusions.

I have now enumerated, and in some measure explained those characteristics of mere matter by which I conceive it becomes agreeable to the theoretic faculty, under whatever form, dead, organized, or animated, it may present itself. It will be our task in the succeeding volume to examine, and ill.u.s.trate by examples, the mode in which these characteristics appear in every division of creation, in stones, mountains, waves, clouds, and all organic bodies; beginning with vegetables, and then taking instances in the range of animals from the mollusc to man; examining how one animal form is n.o.bler than another, by the more manifest presence of these attributes, and chiefly endeavoring to show how much there is of admirable and lovely, even in what is commonly despised. At present I have only to mark the conclusions at which we have as yet arrived respecting the rank of the theoretic faculty, and then to pursue the inquiry farther into the nature of vital beauty.

As I before said, I pretend not to have enumerated all the sources of material beauty, nor the a.n.a.logies connected with them; it is probable that others may occur to many readers, or to myself as I proceed into more particular inquiry, but I am not careful to collect all conceivable evidence on the subject. I desire only to a.s.sert and prove some certain principles, and by means of these to show, in some measure, the inherent worthiness and glory of G.o.d's works and something of the relations they bear to each other and to us, leaving the subject to be fully pursued, as it only can be, by the ardor and affection of those whom it may interest.

-- 2. Typical beauty not created for man's sake.

-- 3. But degrees of it for his sake admitted.