Modern Painters Volume II Part 21

-- 11. Or of both without texture.

Again, there is capability of representing the essential character, form, and color of an object, without external texture. On this point much has been said by Reynolds and others, and it is, indeed, perhaps the most unfailing characteristic of great manner in painting. Compare a dog of Edwin Landseer with a dog of Paul Veronese. In the first, the outward texture is wrought out with exquisite dexterity of handling, and minute attention to all the accidents of curl and gloss which can give appearance of reality, while the hue and power of the suns.h.i.+ne, and the truth of the shadow on all these forms is necessarily neglected, and the large relations of the animal as a ma.s.s of color to the sky or ground, or other parts of the picture, utterly lost. This is realism at the expense of ideality, it is treatment essentially unimaginative.[71] With Veronese, there is no curling nor crisping, no glossiness nor sparkle, hardly even hair, a mere type of hide, laid on with a few scene-painter's touches. But the essence of dog is there, the entire magnificent, generic animal type, muscular and living, and with broad, pure, sunny daylight upon him, and bearing his true and harmonious relation of color to all color about him. This is ideal treatment.

The same treatment is found in the works of all the greatest men, they all paint the lion more than his mane, and the horse rather than his hide; and I think also they are more careful to obtain the right expression of large and universal light and color, than local tints; for the warmth of suns.h.i.+ne, and the force of sunlighted hue are always sublime on whatever subject they may be exhibited; and so also are light and shade, if grandly arranged, as may be well seen in an etching of Rembrandt's of a spotted sh.e.l.l, which he has made altogether sublime by broad truth and large ideality of light and shade; and so I have seen frequent instances of very grand ideality in treatment of the most commonplace still life, by our own Hunt, where the petty glosses and delicacies, and minor forms, are all merged in a broad glow of suffused color; so also in pieces of the same kind by Etty, where, however, though the richness and play of color are greater, and the arrangement grander, there is less expression of light, neither is there anything in modern art that can be set beside some choice pa.s.sages of Hunt in this respect.

-- 12. Abstraction or typical representation of animal form.

Again, it is possible to represent objects capable of various accidents in generic or symbolical form.

-- 13. Either when it is symbolically used.

How far this may be done with things having necessary form, as animals, I am not prepared to say. The lions of the Egyptian room in the British Museum, and the fish beside Michael Angelo's Jonah, are instances; and there is imaginative power about both which we find not in the more perfectly realized Florentine boar, nor in Raffaelle's fish of the draught. And yet the propriety and n.o.bility of these types depend on the architectural use and character of the one, and on the typical meaning of the other: we should be grieved to see the forms of the Egyptian lion subst.i.tuted for those of Raffaelle's in its struggle with Samson, nor would the whale of Michael Angelo be tolerated in the nets of Gennesaret. So that I think it is only when the figure of the creature stands not for any representation of vitality, but merely for a letter or type of certain symbolical meaning, or else is adopted as a grand form of decoration or support in architecture, that such generalization is allowable, and in such circ.u.mstances I think it necessary, always provided it be based, as in the instances given I conceive it to be, upon thorough knowledge of the creature symbolized and wrought out by a master hand; and these conditions being observed, I believe it to be right and necessary in architecture to modify all animal forms by a severe architectural stamp, and in symbolical use of them, to adopt a typical form, to which practice the contrary, and its evil consequences are ludicrously exhibited in the St. Peter of Carlo Dolci in the Pitti palace, which owing to the prominent, glossy-plumed and crimson-combed c.o.c.k, is liable to be taken for the portrait of a poulterer, only let it be observed that the treatment of the animal form here is offensive, not only from its realization, but from the pettiness and meanness of its realization; for it might, in other hands but Carlo Dolci's, have been a sublime c.o.c.k, though a real one, but in his, it is fit for nothing but the spit. Compare as an example partly of symbolical treatment, partly of magnificent realization, that supernatural lion of Tintoret, in the picture of the Doge Loredano before the Madonna, with the plumes of his mighty wings clashed together in cloudlike repose, and the strength of the sea winds shut within their folding. And note farther the difference between the typical use of the animal, as in this case, and that of the fish of Jonah, (and again the fish before mentioned whose form is indicated in the clouds of the baptism), and the actual occurrence of the creature itself, with concealed meaning, as the a.s.s colt of the crucifixion, which it was necessary to paint as such, and not as an ideal form.

-- 14. Or in architectural decoration.

-- 15. Exception in delicate and superimposed ornament.

I cannot enter here into the question of the exact degree of severity and abstraction necessary in the forms of living things architecturally employed; my own feeling on the subject is, though I dare not lay it down as a principle, (with the Parthenon pediment standing against me like the s.h.i.+eld of Ajax,) that no perfect representation of animal form is right in architectural decoration. For my own part, I had much rather see the metopes in the Elgin room of the British Museum, and the Parthenon without them, than have them together, and I would not surrender, in an architectural point of view, one mighty line of the colossal, quiet, life-in-death statue mountains in Egypt with their narrow fixed eyes and hands on their rocky limbs, nor one Romanesque facade with its porphyry mosaic of indefinable monsters, nor one Gothic moulding of rigid saints and grinning goblins, for ten Parthenons; and, I believe, I could show some rational ground for this seeming barbarity if this were the place to do so, but at present I can only ask the reader to compare the effect of the so-called barbarous ancient mosaics on the front of St. Mark's, as they have been recorded, happily, by the faithfulness of the good Gentile Bellini, in one of his pictures now in the Venice gallery, with the veritably barbarous pictorial subst.i.tutions of the fifteenth century, (one only of the old mosaics remains, or did remain till lately, over the northern door, but it is probably by this time torn down by some of the Venetian committees of taste,) and also I would have the old portions of the interior ceiling, or of the mosaics of Murano and Torcello, and the glorious Cimabue mosaic of Pisa, and the roof of the Baptistery at Parma, (that of the Florence Baptistery is a bad example, owing to its crude whites and complicated mosaic of small forms,) all of which are as barbarous as they can well be, in a certain sense, but mighty in their barbarism, with any architectural decorations whatsoever, consisting of professedly perfect animal forms, from the vile frescoes of Federigo Zuccaro at Florence to the ceiling of the Sistine, and again compare the professedly perfect sculpture of Milan Cathedral with the statues of the porches of Chartres; only be it always observed that it is not rudeness and ignorance of art, but intellectually awful abstraction that I uphold, and also be it noted that in all ornament, which takes place in the general effect merely as so much fretted stone, in capitals and other pieces of minute detail, the forms may be, and perhaps ought to be, elaborately imitative; and in this respect again the capitals of St. Mark's church, and of the Doge's palace at Venice may be an example to the architects of all the world, in their boundless inventiveness, unfailing elegance, and elaborate finish; there is more mind poured out in turning a single angle of that church than would serve to build a modern cathedral;[72] and of the careful finish of the work, this may serve for example, that one of the capitals of the Doge's palace is formed of eight heads of different animals, of which one is a bear's with a honeycomb in the mouth, whose carved _cells_ are _hexagonal_.

-- 16. Abstraction necessary from imperfection of materials.

-- 17. Abstractions of things capable of varied accident are not imaginative.

-- 18. Yet sometimes valuable.

So far, then, of the abstraction proper to architecture, and to symbolical uses, of which I shall have occasion to speak hereafter at length, referring to it only at present as one of the operations of imagination contemplative; other abstractions there are which are necessarily consequent on the imperfection of materials, as of the hair in sculpture, which is necessarily treated in ma.s.ses that are in no sort imitative, but only stand for hair, and have the grace, flow, and feeling of it without the texture or division, and other abstractions there are in which the form of one thing is fancifully indicated in the matter of another; as in phantoms and cloud shapes, the use of which, in mighty hands, is often most impressive, as in the cloudy charioted Apollo of Nicolo Poussin in our own gallery, which the reader may oppose to the substantial Apollo, in Wilson's Niobe, and again the phantom vignette of Turner already noticed; only such operations of the imagination are to be held of lower kind and dangerous consequence, if frequently trusted in, for those painters only have the right imaginative power who can set the supernatural form before us fleshed and boned like ourselves.[73] Other abstractions occur, frequently, of things which have much accidental variety of form, as of waves, on Greek sculptures in successive volutes, and of clouds often in supporting volumes in the sacred pictures; but these I do not look upon as results of imagination at all, but mere signs and letters; and whenever a very highly imaginative mind touches them, it always realizes as far as may be. Even t.i.tian is content to use at the top of his St. Pietro Martiri, the conventional, round, opaque cloud, which cuts his trees open like a gouge; but Tintoret, in his picture of the Golden Calf, though compelled to represent the Sinai under conventional form, in order that the receiving of the tables might be seen at the top of it, yet so soon as it is possible to give more truth, he is ready with it; he takes a grand fold of horizontal cloud straight from the flanks of the Alps, and shows the forests of the mountains through its misty volume, like sea-weed through deep sea.[74] Nevertheless, when the realization is impossible, bold symbolism is of the highest value, and in religious art, as we shall presently see, even necessary, as of the rays of light in the t.i.tian woodcut of St. Francis before noticed; and sometimes the attention is directed by some such strange form to the meaning of the image, which may be missed if it remains in its natural purity, (as, I suppose, few in looking at the Cephalus and Procris of Turner, note the sympathy of those faint rays that are just drawing back and dying between the trunks of the far-off forest, with the ebbing life of the nymph; unless, indeed, they happen to recollect the same sympathy marked by Sh.e.l.ley in the Alastor;) but the imagination is not shown in any such modifications; however, in some cases they may be valuable (in the Cephalus they would be utterly destructive,) and I note them merely in consequence of their peculiar use in religious art, presently to be examined.

-- 19. Exaggeration. Its laws and limits. First, in scale of representation.

The last mode we have here to note in which the imagination regardant may be expressed in art is exaggeration, of which, as it is the vice of all bad artists, may be constantly resorted to without any warrant of imagination, it is necessary to note strictly the admissible limits.

In the first place, a colossal statue is necessarily no more an exaggeration of what it represents than a miniature is a diminution, it need not be a representation of a giant, but a representation, on a large scale, of a man; only it is to be observed, that as any plane intersecting the cone of rays between us and the object, must receive an image smaller than the object; a small image is rationally and completely expressive of a larger one; but not a large of a small one.

Hence I think that all statues above the Elgin standard, or that of Michael Angelo's Night and Morning, are, in a measure, taken by the eye for representations of giants, and I think them always disagreeable. The amount of exaggeration admitted by Michael Angelo is valuable because it separates the emblematic from the human form, and gives greater freedom to the grand lines of the frame; for notice of his scientific system of increase of size I may refer the reader to Sir Charles Bell's remarks on the statues of the Medici chapel; but there is one circ.u.mstance which Sir Charles has not noticed, and in the interpretation of which, therefore, it is likely I may be myself wrong; that the extremities are singularly small in proportion to the limbs, by which means there is an expression given of strength and activity greater than in the ordinary human type, which appears to me to be an allowance for that alteration in proportion necessitated by increase of size, of which we took note in Chap. VI. of the first section, -- 10, note; not but that Michael Angelo always makes the extremities comparatively small, but smallest, comparatively, in his largest works; so I think, from the size of the head, it may be conjectured respecting the Theseus of the Elgins. Such adaptations are not necessary when the exaggerated image is spectral; for as the laws of matter in that case can have no operation, we may expand the form as far as we choose, only let careful distinction be made between the size of the thing represented, and the scale of the representation. The canvas on which Fuseli has stretched his Satan in the schools of the Royal Academy is a mere concession to inability. He might have made him look more gigantic in one of a foot square.

-- 20. Secondly. Of things capable of variety of scale.

Another kind of exaggeration is of things whose size is variable to a size or degree greater than that usual with them, as in waves and mountains; and there are hardly any limits to this exaggeration so long as the laws which nature observes in her increase be observed. Thus, for instance: the form and polished surface of a breaking ripple three inches high, are not representation of either the form or the surface of the surf of a storm, nodding ten feet above the beach; neither would the cutting ripple of a breeze upon a lake if simply exaggerated, represent the forms of Atlantic surges; but as nature increases her bulk, she diminishes the angles of ascent, and increases her divisions; and if we would represent surges of size greater than ever existed, which it is lawful to do, we must carry out these operations to still greater extent. Thus, Turner, in his picture of the Slave s.h.i.+p, divides the whole sea into two ma.s.ses of enormous swell, and conceals the horizon by a gradual slope of only two or three degrees. This is intellectual exaggeration. In the Academy exhibition of 1843, there was, in one of the smaller rooms, a black picture of a storm, in which there appeared on the near sea, just about to be overwhelmed by an enormous breaker, curling right over it, an object at first sight liable to be taken for a walnut sh.e.l.l, but which, on close examination, proved to be a s.h.i.+p with mast and sail, with Christ and his twelve disciples in it. This is childish exaggeration, because it is impossible, by the laws of matter and motion, that such a breaker should ever exist. Again in mountains, we have repeatedly observed the necessary building up and mult.i.tudinous division of the higher peaks, and the smallness of the slopes by which they usually rise. We may, therefore, build up the mountain as high as we please, but we must do it in nature's way, and not in impossible peaks and precipices; not but that a daring feature is admissible here and there, as the Matterhorn is admitted by nature; but we must not compose a picture out of such exceptions; we may use them, but they must be as exceptions exhibited. I shall have much to say, when we come to treat of the sublime, of the various modes of treating mountain form, so that at present I shall only point to an unfortunate instance of inexcusable and effectless exaggeration in the distance of Turner's vignette to Milton, (the temptation on the mountain,) and desire the reader to compare it with legitimate exaggeration, in the vignette to the second part of Jacqueline, in Rogers's poems.

-- 21. Thirdly, necessary in expression of characteristic features on diminished scale.

Another kind of exaggeration is necessary to retain the characteristic impressions of nature on reduced scale, it is not possible, for instance, to give the leaf.a.ge of trees in its proper proportion, when the trees represented are large, without entirely losing their grace of form and curvature; of this the best proof is found in the Calotype or Daguerreotype, which fail in foliage, not only because the green rays are ineffective, but because, on the small scale of the image, the reduced leaves lose their organization, and look like moss attached to sticks. In order to retain, therefore, the character of flexibility and beauty of foliage, the painter is often compelled to increase the proportionate size of the leaves, and to arrange them in generic ma.s.ses. Of this treatment compare the grand examples throughout the Liber Studiorum. It is by such means only that the ideal character of objects is to be preserved; as we before observed in the 13th chapter of the first section. In all these cases exaggeration is only lawful as the sole means of arriving at truth of impression when strict fidelity is out of the question.

Other modes of exaggeration there are, on which I shall not at present farther insist, the proper place for their discussion being in treating of the sublime, and these which I have at present instanced are enough to establish the point at issue, respecting imaginative verity, inasmuch as we find that exaggeration itself, if imaginative, is referred to principles of truth, and of actual being.

-- 22. Recapitulation.

We have now, I think, reviewed the various modes in which imagination contemplative may be exhibited in art, and arrived at all necessary certainties respecting the essence of the faculty: which we have found in all its three functions, a.s.sociative of truth, penetrative of truth, and contemplative of truth; and having no dealings nor relations with any kind of falsity. One task, however, remains to us, namely, to observe the operation of the theoretic and imaginative faculties together, in the attempt at realization to the bodily sense of beauty supernatural and divine.

FOOTNOTES

[70] Let it not be supposed that I mean to compare the sickly dreaming of Sh.e.l.ley over clouds and waves with the masculine and magnificent grasp of men and things which we find in Scott; it only happens that these two pa.s.sages are more ill.u.s.trative, by the likeness of the scenery they treat, than any others I could have opposed; and that Sh.e.l.ley is peculiarly distinguished by the faculty of contemplative imagination. Scott's healthy and truthful feeling would not allow him to represent the benighted hunter provoked by loss of game, horse, and way at once, as indulging in any more exalted flights of imagination than those naturally consequent on the contrast between the night's lodging he expected, and that which befitted him.

[71] I do not mean to withdraw the praise I have given, and shall always be willing to give such pictures as the Old Shepherd's Chief Mourner, and to all in which the character and inner life of animals are developed. But all lovers of art must regret to find Mr.

Landseer wasting his energies on such inanities as the "Shoeing,"

and sacrificing color, expression, and action, to an imitation of glossy hide.

[72] I have not brought forward any instances of the imaginative power in architecture, as my object is not at present to exhibit its operation in all matter, but only to define its essence; but it may be well to note, in our own new houses of Parliament, how far a building approved by a committee of Taste, may proceed without manifestation either of imagination or composition; it remains to be seen how far the towers may redeem it; and I allude to it at present unwillingly, and only in the desire of influencing, so far as I may, those who have the power to prevent the adoption of a design for a bridge to take place of Westminster, which was exhibited in 1844 at the Royal Academy, professing to be in harmony with the new building, but which was fit only to carry a railroad over a ca.n.a.l.

[73] Comp. Ch. V. -- 5.

[74] All the clouds of Tintoret are sublime; the worst that I know in art are Correggio's, especially in the Madonna della Scudella, and Dome of Parma.

CHAPTER V.

OF THE SUPERHUMAN IDEAL.

-- 1. The subject is not to be here treated in detail.

In our investigation in the first section of the laws of beauty, we confined ourselves to the observation of lower nature, or of humanity.

We were prevented from proceeding to deduce conclusions respecting divine ideality by our not having then established any principles respecting the imaginative faculty, by which, under the discipline of the theoretic, such ideality is conceived. I had purposed to conclude the present section by a careful examination of this subject; but as this is evidently foreign to the matter immediately under discussion, and involves questions of great intricacy respecting the development of mind among those pagan nations who are supposed to have produced high examples of spiritual ideality, I believe it will be better to delay such inquiries until we have concluded our detailed observation of the beauty of visible nature; and I shall therefore at present take notice only of one or two broad principles, which were referred to, or implied, in the chapter respecting the human ideal, and without the enunciation of which, that chapter might lead to false conclusions.

-- 2. The conceivable modes of manifestation of Spiritual Beings are four.

There are four ways in which beings supernatural may be conceived as manifesting themselves to human sense. The first, by external types, signs, or influences; as G.o.d to Moses in the flames of the bush, and to Elijah in the voice of h.o.r.eb.

The second, by the a.s.suming of a form not properly belonging to them; as the Holy Spirit of that of a Dove, the second person of the Trinity of that of a Lamb; and so such manifestations, under angelic or other form, of the first person of the Trinity, as seem to have been made to Abraham, Moses, and Ezekiel.

The third, by the manifestation of a form properly belonging to them, but not necessarily seen; as of the Risen Christ to his disciples when the doors were shut. And the fourth, by their operation on the human form, which they influence or inspire, as in the s.h.i.+ning of the face of Moses.

-- 3. And these are in or through creature forms familiar to us.

It is evident that in all these cases, wherever there is form at all, it is the form of some creature to us known. It is no new form peculiar to spirit nor can it be. We can conceive of none. Our inquiry is simply, therefore, by what modifications those creature forms to us known, as of a lamb, a bird, or a human creature, may be explained as signs or habitations of Divinity, or of angelic essence, and not creatures such as they seem.