首页 >出版文学> Seven Discourses on Art>第2章
  Thisistheideawhichhasacquired,andwhichseemstohavearighttotheepithetofDivine;asitmaybesaidtopreside,likeasupremejudge,overalltheproductionsofnature;appearingtobepossessedofthewillandintentionoftheCreator,asfarastheyregardtheexternalformoflivingbeings。
  Whenamanoncepossessesthisideainitsperfection,thereisnodangerbutthathewillhesufficientlywarmedbyithimself,andbeabletowarmandravisheveryoneelse。
  Thusitisfromareiteratedexperience,andaclosecomparisonoftheobjectsinnature,thatanartistbecomespossessedoftheideaofthatcentralform,ifImaysoexpressit,fromwhicheverydeviationisdeformity。ButtheinvestigationofthisformIgrantispainful,andIknowbutofonemethodofshorteningtheroad;
  thisis,byacarefulstudyoftheworksoftheancientsculptors;
  who,beingindefatigableintheschoolofnature,haveleftmodelsofthatperfectformbehindthem,whichanartistwouldpreferassupremelybeautiful,whohadspenthiswholelifeinthatsinglecontemplation。Butifindustrycarriedthemthusfar,maynotyoualsohopeforthesamerewardfromthesamelabour?Wehavethesameschoolopenedtousthatwasopenedtothem;fornaturedeniesherinstructionstononewhodesiretobecomeherpupils。
  TotheprincipleIhavelaiddown,thattheideaofbeautyineachspeciesofbeingsisinvariablyone,itmaybeobjectedthatineveryparticularspeciestherearevariouscentralforms,whichareseparateanddistinctfromeachother,andyetareundeniablybeautiful;thatinthehumanfigure,forinstance,thebeautyoftheHerculesisone,ofthegladiatoranother,oftheApolloanother,whichmakessomanydifferentideasofbeauty。
  Itistrue,indeed,thatthesefiguresareeachperfectintheirkind,thoughofdifferentcharactersandproportions;butstillnoneofthemistherepresentationofanindividual,butofaclass。Andasthereisonegeneralform,which,asIhavesaid,belongstothehumankindatlarge,soineachoftheseclassesthereisonecommonideaandcentralform,whichistheabstractofthevariousindividualformsbelongingtothatclass。Thus,thoughtheformsofchildhoodandagedifferexceedingly,thereisacommonforminchildhood,andacommonforminage,——whichisthemoreperfect,asitismoreremotefromallpeculiarities。ButI
  mustaddfurther,thatthoughthemostperfectformsofeachofthegeneraldivisionsofthehumanfigureareideal,andsuperiortoanyindividualformofthatclass,yetthehighestperfectionofthehumanfigureisnottobefoundinanyoneofthem。ItisnotintheHercules,norinthegladiator,norintheApollo;butinthatformwhichistakenfromthemall,andwhichpartakesequallyoftheactivityofthegladiator,ofthedelicacyoftheApollo,andofthemuscularstrengthoftheHercules。Forperfectbeautyinanyspeciesmustcombineallthecharacterswhicharebeautifulinthatspecies。Itcannotconsistinanyonetotheexclusionoftherest:noone,therefore,mustbepredominant,thatnoonemaybedeficient。
  Theknowledgeofthesedifferentcharacters,andthepowerofseparatinganddistinguishingthem,isundoubtedlynecessarytothepainter,whoistovaryhiscompositionswithfiguresofvariousformsandproportions,thoughheisnevertolosesightofthegeneralideaofperfectionineachkind。
  Thereis,likewise,akindofsymmetryorproportion,whichmayproperlybesaidtobelongtodeformity。Afigureleanorcorpulent,tallorshort,thoughdeviatingfrombeauty,maystillhaveacertainunionofthevariousparts,whichmaycontributetomakethem,onthewhole,notunpleasing。Whentheartisthasbydiligentattentionacquiredaclearanddistinctideaofbeautyandsymmetry;whenhehasreducedthevarietyofnaturetotheabstractidea;hisnexttaskwillbetobecomeacquaintedwiththegenuinehabitsofnature,asdistinguishedfromthoseoffashion。Forinthesamemanner,andonthesameprinciples,ashehasacquiredtheknowledgeoftherealformsofnature,distinctfromaccidentaldeformity,hemustendeavourtoseparatesimplechastenaturefromthoseadventitious,thoseaffectedandforcedairsoractions,withwhichsheisloadedbymoderneducation。
  PerhapsIcannotbetterexplainwhatImeanthanbyremindingyouofwhatwastaughtusbytheProfessorofAnatomy,inrespecttothenaturalpositionandmovementofthefeet。Heobservedthatthefashionofturning,themoutwardswascontrarytotheintentofnature,asmightbeseenfromthestructureofthebones,andfromtheweaknessthatproceededfromthatmannerofstanding。Tothiswemayaddtheerectpositionofthehead,theprojectionofthechest,thewalkingwithstraightknees,andmanysuchactions,whicharemerelytheresultoffashion,andwhatnatureneverwarranted,aswearesurethatwehavebeentaughtthemwhenchildren。
  Ihavementionedbutafewofthoseinstances,inwhichvanityorcapricehavecontrivedtodistortanddisfigurethehumanform;
  yourownrecollectionwilladdtotheseathousandmoreofill-
  understoodmethods,thathavebeenpractisedtodisguisenature,amongourdancing-masters,hair-dressers,andtailors,intheirvariousschoolsofdeformity。
  Howeverthemechanicandornamentalartsmaysacrificetofashion,shemustbeentirelyexcludedfromtheartofpainting;thepaintermustnevermistakethiscapriciouschangelingforthegenuineoffspringofnature;hemustdivesthimselfofallprejudicesinfavourofhisageorcountry;hemustdisregardalllocalandtemporaryornaments,andlookonlyonthosegeneralhabitsthatareeverywhereandalwaysthesame。Headdresseshisworkstothepeopleofeverycountryandeveryage;hecallsuponposteritytobehisspectators,andsayswithZeuxis,Inaeternitatempingo。
  Theneglectofseparatingmodernfashionsfromthehabitsofnature,leadstothatridiculousstylewhichhasbeenpractisedbysomepainterswhohavegiventoGrecianheroestheairsandgracespractisedinthecourtofLouisXIV。;anabsurdityalmostasgreatasitwouldhavebeentohavedressedthemafterthefashionofthatcourt。
  Toavoidthiserror,however,andtoretainthetruesimplicityofnature,isataskmoredifficultthanatfirstsightitmayappear。
  Theprejudicesinfavourofthefashionsandcustomsthatwehavebeenusedto,andwhicharejustlycalledasecondnature,makeittoooftendifficulttodistinguishthatwhichisnaturalfromthatwhichistheresultofeducation;theyfrequentlyevengiveapredilectioninfavouroftheartificialmode;andalmosteveryoneisapttobeguidedbythoselocalprejudiceswhohasnotchastisedhismind,andregulatedtheinstabilityofhisaffections,bytheeternalinvariableideaofnature。
  Here,then,asbefore,wemusthaverecoursetotheancientsasinstructors。Itisfromacarefulstudyoftheirworksthatyouwillbeenabledtoattaintotherealsimplicityofnature;theywillsuggestmanyobservations,whichwouldprobablyescapeyou,ifyourstudywereconfinedtonaturealone。And,indeed,Icannothelpsuspecting,thatinthisinstancetheancientshadaneasiertaskthanthemoderns。Theyhad,probably,littleornothingtounlearn,astheirmannerswerenearlyapproachingtothisdesirablesimplicity;whilethemodernartist,beforehecanseethetruthofthings,isobligedtoremoveaveil,withwhichthefashionofthetimeshasthoughtpropertocoverher。
  Havinggonethusfarinourinvestigationofthegreatstyleinpainting;ifwenowshouldsupposethattheartisthasformedthetrueideaofbeauty,whichenableshimtogivehisworksacorrectandperfectdesign;ifweshouldsupposealsothathehasacquiredaknowledgeoftheunadulteratedhabitsofnature,whichgiveshimsimplicity;therestofhistalkis,perhaps,lessthanisgenerallyimagined。Beautyandsimplicityhavesogreatashareinthecompositionofagreatstyle,thathewhohasacquiredthemhaslittleelsetolearn。Itmustnot,indeed,beforgotthatthereisanoblenessofconception,whichgoesbeyondanythinginthemereexhibition,evenofperfectform;thereisanartofanimatinganddignifyingthefigureswithintellectualgrandeur,ofimpressingtheappearanceofphilosophicwisdomorheroicvirtue。Thiscanonlybeacquiredbyhimthatenlargesthesphereofhisunderstandingbyavarietyofknowledge,andwarmshisimaginationwiththebestproductionsofancientandmodernpoetry。
  Ahandthusexercised,andamindthusinstructed,willbringthearttoahigherdegreeofexcellencethan,perhaps,ithashithertoattainedinthiscountry。Suchastudentwilldisdainthehumblerwalksofpainting,which,howeverprofitable,canneverassurehimapermanentreputation。Hewillleavethemeanerartistservilelytosupposethatthosearethebestpictureswhicharemostlikelytodeceivethespectator。Hewillpermitthelowerpainter,likethefloristorcollectorofshells,toexhibittheminutediscriminationswhichdistinguishoneobjectofthesamespeciesfromanother;whilehe,likethephilosopher,willconsidernatureintheabstract,andrepresentineveryoneofhisfiguresthecharacterofitsspecies。
  Ifdeceivingtheeyeweretheonlybusinessoftheart,thereisnodoubt,indeed,buttheminutepainterwouldbemoreapttosucceed:
  butitisnottheeye,itisthemind,whichthepainterofgeniusdesirestoaddress;norwillhewasteamomentuponthesesmallerobjects,whichonlyservetocatchthesense,todividetheattention,andtocounteracthisgreatdesignofspeakingtotheheart。
  ThisistheambitionIcouldwishtoexciteinyourminds;andtheobjectIhavehadinmyview,throughoutthisdiscourse,isthatonegreatideawhichgivestopaintingitstruedignity,thatentitlesittothenameofaLiberalArt,andranksitasasisterofpoetry。
  Itmaypossiblyhavehappenedtomanyyoungstudentswhoseapplicationwassufficienttoovercomealldifficulties,andwhosemindswerecapableofembracingthemostextensiveviews,thattheyhave,byawrongdirectionoriginallygiven,spenttheirlivesinthemeanerwalksofpainting,withouteverknowingtherewasanoblertopursue。"AlbertDurer,"asVasarihasjustlyremarked,"wouldprobablyhavebeenoneofthefirstpaintersofhisage(andhelivedinaneraofgreatartists)hadhebeeninitiatedintothosegreatprinciplesoftheartwhichweresowellunderstoodandpractisedbyhiscontemporariesinItaly。Butunluckily,havingneverseenorheardofanyothermanner,heconsideredhisown,withoutdoubt,asperfect。"
  Asforthevariousdepartmentsofpainting,whichdonotpresumetomakesuchhighpretensions,theyaremany。Noneofthemarewithouttheirmerit,thoughnoneenterintocompetitionwiththisgreatuniversalpresidingideaoftheart。Thepainterswhohaveappliedthemselvesmoreparticularlytolowandvulgarcharacters,andwhoexpresswithprecisionthevariousshadesofpassion,astheyareexhibitedbyvulgarminds(suchasweseeintheworksofHogarth)deservegreatpraise;butastheirgeniushasbeenemployedonlowandconfinedsubjects,thepraisethatwegivemustbeaslimitedasitsobject。ThemerrymakingorquarrellingoftheBoorsofTeniers;thesamesortofproductionsofBrouwer,orOstade,areexcellentintheirkind;andtheexcellenceanditspraisewillbeinproportion,as,inthoselimitedsubjectsandpeculiarforms,theyintroducemoreorlessoftheexpressionofthosepassions,astheyappearingeneralandmoreenlargednature。
  ThisprinciplemaybeappliedtothebattlepiecesofBourgognone,theFrenchgallantriesofWatteau,andevenbeyondtheexhibitionofanimallife,tothelandscapesofClaudeLorraine,andthesea-
  viewsofVandervelde。Allthesepaintershave,ingeneral,thesameright,indifferentdegrees,tothenameofapainter,whichasatirist,anepigrammatist,asonnetteer,awriterofpastorals,ordescriptivepoetry,hastothatofapoet。
  Inthesamerank,and,perhaps,ofnotsogreatmerit,isthecoldpainterofportraits。Buthiscorrectandjustimitationofhisobjecthasitsmerit。Eventhepainterofstilllife,whosehighestambitionistogiveaminuterepresentationofeverypartofthoselowobjects,whichhesetsbeforehim,deservespraiseinproportiontohisattainment;becausenopartofthisexcellentart,somuchtheornamentofpolishedlife,isdestituteofvalueanduse。These,however,arebynomeanstheviewstowhichthemindofthestudentoughttobePRIMARILYdirected。Byaimingatbetterthings,iffromparticularinclination,orfromthetasteofthetimeandplacehelivesin,orfromnecessity,orfromfailureinthehighestattempts,heisobligedtodescendlower;hewillbringintothelowersphereofartagrandeurofcompositionandcharacterthatwillraiseandennoblehisworksfarabovetheirnaturalrank。
  Amanisnotweak,thoughhemaynotbeabletowieldtheclubofHercules;nordoesamanalwayspractisethatwhichheesteemsthebeat;butdoesthatwhichhecanbestdo。Inmoderateattempts,therearemanywalksopentotheartist。Butastheideaofbeautyisofnecessitybutone,sotherecanbebutonegreatmodeofpainting;theleadingprincipleofwhichIhaveendeavouredtoexplain。
  Ishouldbesorryifwhatishererecommendedshouldbeatallunderstoodtocountenanceacarelessorindeterminedmannerofpainting。Forthoughthepainteristooverlooktheaccidentaldiscriminationsofnature,heistopronouncedistinctly,andwithprecision,thegeneralformsofthings。Afirmanddeterminedoutlineisoneofthecharacteristicsofthegreatstyleinpainting;and,letmeadd,thathewhopossessestheknowledgeoftheexactform,thateverypartofnatureoughttohave,willbefondofexpressingthatknowledgewithcorrectnessandprecisioninallhisworks。
  Toconclude:Ihaveendeavouredtoreducetheideaofbeautytogeneralprinciples。AndIhadthepleasuretoobservethattheprofessorofpaintingproceededinthesamemethod,whenheshowedyouthattheartificeofcontrastwasfoundedbutononeprinciple。
  AndIamconvincedthatthisistheonlymeansofadvancingscience,ofclearingthemindfromaconfusedheapofcontradictoryobservations,thatdobutperplexandpuzzlethestudentwhenhecomparesthem,ormisguidehimifhegiveshimselfuptotheirauthority;butbringingthemunderonegeneralheadcanalonegiverestandsatisfactiontoaninquisitivemind。
  ADISCOURSE
  DeliveredtotheStudentsoftheRoyalAcademyontheDistributionofthePrizes,December10,1771,bythePresident。
  Gentlemen,——Thevalueandrankofeveryartisinproportiontothementallabouremployedinit,orthementalpleasureproducedbyit。Asthisprincipleisobservedorneglected,ourprofessionbecomeseitheraliberalartoramechanicaltrade。Inthehandsofonemanitmakesthehighestpretensions,asitisaddressedtothenoblestfaculties,Inthoseofanotheritisreducedtoamerematterofornament,andthepainterhasbutthehumbleprovinceoffurnishingourapartmentswithelegance。
  Thisexertionofmind,whichistheonlycircumstancethattrulyennoblesourart,makesthegreatdistinctionbetweentheRomanandVenetianschools。Ihaveformerlyobservedthatperfectformisproducedbyleavingoutparticularities,andretainingonlygeneralideas。Ishallnowendeavourtoshowthatthisprinciple,whichI
  haveprovedtobemetaphysicallyjust,extendsitselftoeverypartoftheart;thatitgiveswhatiscalledthegrandstyletoinvention,tocomposition,toexpression,andeventocolouringanddrapery。
  Inventioninpaintingdoesnotimplytheinventionofthesubject,forthatiscommonlysuppliedbythepoetorhistorian。Withrespecttothechoice,nosubjectcanbeproperthatisnotgenerallyinteresting。Itoughttobeeithersomeeminentinstanceofheroicactionorheroicsuffering。Theremustbesomethingeitherintheactionorintheobjectinwhichmenareuniversallyconcerned,andwhichpowerfullystrikesuponthepublicsympathy。
  Strictlyspeaking,indeed,nosubjectcanbeofuniversal,hardlycanitbeofgeneralconcern:butthereareeventsandcharacterssopopularlyknowninthosecountrieswhereourartisinrequest,thattheymaybeconsideredassufficientlygeneralforallourpurposes。SucharethegreateventsofGreekandRomanfableandhistory,whichearlyeducationandtheusualcourseofreadinghavemadefamiliarandinterestingtoallEurope,withoutbeingdegradedbythevulgarismofordinarylifeinanycountry。Such,too,arethecapitalsubjectsofScripturehistory,which,besidestheirgeneralnotoriety,becomevenerablebytheirconnectionwithourreligion。
  Asitisrequiredthatthesubjectselectedshouldbeageneralone,itisnolessnecessarythatitshouldbekeptunembarrassedwithwhatevermayanywayservetodividetheattentionofthespectator。Wheneverastoryisrelated,everymanformsapictureinhismindoftheactionandtheexpressionofthepersonsemployed。Thepowerofrepresentingthismentalpictureincanvasiswhatwecallinventioninapainter。Andasintheconceptionofthisidealpicturetheminddoesnotenterintotheminutepeculiaritiesofthedress,furniture,orsceneofaction,sowhenthepaintercomestorepresentithecontrivesthoselittlenecessaryconcomitantcircumstancesinsuchamannerthattheyshallstrikethespectatornomorethantheydidhimselfinhisfirstconceptionofthestory。
  Iamveryreadytoallowthatsomecircumstancesofminutenessandparticularityfrequentlytendtogiveanairoftruthtoapiece,andtointerestthespectatorinanextraordinarymanner。Suchcircumstances,therefore,cannotwhollyberejected;butiftherebeanythingintheartwhichrequirespeculiarnicetyofdiscernment,itisthedispositionoftheseminutecircumstantialpartswhich,accordingtothejudgmentemployedinthechoice,becomesousefultotruthorsoinjurioustograndeur。
  However,theusualandmostdangerouserrorisonthesideofminuteness,and,therefore,Ithinkcautionmostnecessarywheremosthavefailed。Thegeneralideaconstitutesrealexcellence。
  Allsmallerthings,howeverperfectintheirway,aretobesacrificedwithoutmercytothegreater。Thepainterwillnotinquirewhatthingsmaybeadmittedwithoutmuchcensure。Hewillnotthinkitenoughtoshowthattheymaybethere;hewillshowthattheymustbethere,thattheirabsencewouldrenderhispicturemaimedanddefective。
  Thus,thoughtotheprincipalgroupasecondorthirdbeadded,andasecondandthirdmassoflight,caremustbeyettakenthatthesesubordinateactionsandlights,neithereachinparticular,noralltogether,comeintoanydegreeofcompetitionwiththeprincipal;
  theyshouldmakeapartofthatwholewhichwouldbeimperfectwithoutthem。Toeverypartofpaintingthisrulemaybeapplied。
  Eveninportraits,thegraceand,wemayadd,thelikeness,consistsmoreintakingthegeneralairthaninobservingtheeffectsimilitudeofeveryfeature。
  Thusfiguresmusthaveagroundwhereontostand;theymustbeclothed,theremustbeabackground,theremustbelightandshadow;butnoneoftheseoughttoappeartohavetakenupanypartoftheartist’sattention。Theyshouldbesomanagedasnoteventocatchthatofthespectator。Weknowwellenough,whenweanalyseapiece,thedifficultyandthesubtletywithwhichanartistadjuststhebackground,drapery,andmassesoflight;weknowthataconsiderablepartofthegraceandeffectofhispicturedependsuponthem;butthisartissomuchconcealed,eventoajudiciouseye,thatnoremainsofanyofthesesubordinatepartsoccurtomemorywhenthepictureisnotpresent。
  Thegreatendoftheartistostriketheimagination。Thepainteris,therefore,tomakenoostentationofthemeansbywhichthisisdone;thespectatorisonlytofeeltheresultinhisbosom。Aninferiorartistisunwillingthatanypartofhisindustryshouldbelostuponthespectator。Hetakesasmuchpainstodiscover,asthegreaterartistdoestoconceal,themarksofhissubordinateassiduity。Inworksofthelowerkindeverythingappearsstudiedandencumbered;itisallboastfulartandopenaffectation。Theignorantoftenpartfromsuchpictureswithwonderintheirmouths,andindifferenceintheirhearts。
  Butitisnotenoughininventionthattheartistshouldrestrainandkeepunderalltheinferiorpartsofhissubject;hemustsometimesdeviatefromvulgarandstricthistoricaltruthinpursuingthegrandeurofhisdesign。
  Howmuchthegreatstyleexactsfromitsprofessorstoconceiveandrepresenttheirsubjectsinapoeticalmanner,notconfinedtomerematteroffact,maybeseeninthecartoonsofRaffaelle。Inallthepicturesinwhichthepainterhasrepresentedtheapostles,hehasdrawnthemwithgreatnobleness;hehasgiventhemasmuchdignityasthehumanfigureiscapableofreceivingyetweareexpresslytoldinScripturetheyhadnosuchrespectableappearance;andofSt。Paulinparticular,wearetoldbyhimself,thathisbodilypresencewasmean。Alexanderissaidtohavebeenofalowstature:apainteroughtnotsotorepresenthim。
  Agesilauswaslow,lame,andofameanappearance。Noneofthesedefectsoughttoappearinapieceofwhichheisthehero。Inconformitytocustom,Icallthispartofthearthistorypainting;
  itoughttobecalledpoetical,asinrealityitis。
  Allthisisnotfalsifyinganyfact;itistakinganallowedpoeticallicence。Apainterofportraitsretainstheindividuallikeness;apainterofhistoryshowsthemanbyshowinghisactions。Apaintermustcompensatethenaturaldeficienciesofhisart。Hehasbutonesentencetoutter,butonemomenttoexhibit。
  Hecannot,likethepoetorhistorian,expatiate,andimpressthemindwithgreatvenerationforthecharacteroftheheroorsaintherepresents,thoughheletsusknowatthesametimethatthesaintwasdeformed,ortheherolame。Thepainterhasnoothermeansofgivinganideaofthedignityofthemind,butbythatexternalappearancewhichgrandeurofthoughtdoesgenerally,thoughnotalways,impressonthecountenance,andbythatcorrespondenceoffiguretosentimentandsituationwhichallmenwish,butcannotcommand。Thepainter,whomayinthisoneparticularattainwitheasewhatothersdesireinvain,oughttogiveallthathepossiblycan,sincetherearesomanycircumstancesoftruegreatnessthathecannotgiveatall。Hecannotmakehisherotalklikeagreatman;hemustmakehimlooklikeone。Forwhichreasonheoughttobewellstudiedintheanalysisofthosecircumstanceswhichconstitutedignityofappearanceinreallife。
  Asininvention,solikewisein,expression,caremustbetakennottorunintoparticularities,Thoseexpressionsaloneshouldbegiventothefigureswhichtheirrespectivesituationsgenerallyproduce。Noristhisenough;eachpersonshouldalsohavethatexpressionwhichmenofhisrankgenerallyexhibit。Thejoyorthegriefofacharacterofdignityisnottobeexpressedinthesamemannerasasimilarpassioninavulgarface。UponthisprincipleBernini,perhaps,maybesubjecttocensure。Thissculptor,inmanyrespectsadmirable,hasgivenaverymeanexpressiontohisstatueofDavid,whoisrepresentedasjustgoingtothrowthestonefromthesling;andinordertogiveittheexpressionofenergyhehasmadehimbitinghisunder-lip。Thisexpressionisfarfrombeinggeneral,andstillfartherfrombeingdignified。Hemighthaveseenitinaninstanceortwo,andhemistookaccidentforuniversality。
  Withrespecttocolouring,thoughitmayappearatfirstapartofpaintingmerelymechanical,yetitstillhasitsrules,andthosegroundeduponthatpresidingprinciplewhichregulatesboththegreatandthelittleinthestudyofapainter。Bythis,thefirsteffectofthepictureisproduced;andasthisisperformedthespectator,ashewalksthegallery,willstop,orpassalong。Togiveageneralairofgrandeuratfirstview,alltriflingorartfulplayoflittlelightsoranattentiontoavarietyoftintsistobeavoided;aquietnessandsimplicitymustreignoverthewholework;towhichabreadthofuniformandsimplecolourwillverymuchcontribute。Grandeurofeffectisproducedbytwodifferentways,whichseementirelyopposedtoeachother。Oneis,byreducingthecolourstolittlemorethanchiaroscuro,whichwasoftenthepracticeoftheBolognianschools;andtheother,bymakingthecoloursverydistinctandforcible,suchasweseeinthoseofRomeandFlorence;butstill,thepresidingprincipleofboththosemannersissimplicity。Certainly,nothingcanbemoresimplethanmonotony,andthedistinctblue,red,andyellowcolourswhichareseeninthedraperiesoftheRomanandFlorentineschools,thoughtheyhavenotthatkindofharmonywhichisproducedbyavarietyofbrokenandtransparentcolours,havethateffectofgrandeurthatwasintended。Perhapsthesedistinctcoloursstrikethemindmoreforcibly,fromtherenotbeinganygreatunionbetweenthem;asmartialmusic,whichisintendedtorousethenoblepassions,hasitseffectfromthesuddenandstronglymarkedtransitionsfromonenotetoanother,whichthatstyleofmusicrequires;whilstinthatwhichisintendedtomovethesofterpassionsthenotesimperceptiblymeltintooneanother。
  Inthesamemannerasthehistoricalpainterneverentersintothedetailofcolours,soneitherdoeshedebasehisconceptionswithminuteattentiontothediscriminationsofdrapery。Itistheinferiorstylethatmarksthevarietyofstuffs。Withhim,theclothingisneitherwoollen,norlinen,norsilk,satin,orvelvet:
  itisdrapery;itisnothingmore。Theartofdisposingthefoldingsofthedraperymakeaveryconsiderablepartofthepainter’sstudy。Tomakeitmerelynaturalisamechanicaloperation,towhichneithergeniusortastearerequired;whereas,itrequiresthenicestjudgmenttodisposethedrapery,sothatthefoldshaveaneasycommunication,andgracefullyfolloweachother,withsuchnaturalnegligenceastolookliketheeffectofchance,andatthesametimeshowthefigureunderittotheutmostadvantage。
  CarloMarattiwasofopinionthatthedispositionofdraperywasamoredifficultartthaneventhatofdrawingthehumanfigure;thatastudentmightbemoreeasilytaughtthelatterthantheformer;
  astherulesofdrapery,hesaid,couldnotbesowellascertainedasthosefordelineatingacorrectform,This,perhaps,isaproofhowwillinglywefavourourownpeculiarexcellence。CarloMarattiissaidtohavevaluedhimselfparticularlyuponhisskillinthispartoftheartyetinhimthedispositionappearssoartificial,thatheisinferiortoRaffaelle,eveninthatwhichgavehimhisbestclaimtoreputationSuchisthegreatprinciplebywhichwemustbedirectedinthenoblerbranchesofourart。UponthisprincipletheRoman,theFlorentine,theBologneseschools,haveformedtheirpractice;andbythistheyhavedeservedlyobtainedthehighestpraise。Thesearethethreegreatschoolsoftheworldintheepicstyle。ThebestoftheFrenchschool,Poussin,LeSueur,andLeBrun,haveformedthemselvesuponthesemodels,andconsequentlymaybesaid,thoughFrenchmen,tobeacolonyfromtheRomanschool。Nexttothese,butinaverydifferentstyleofexcellence,wemayranktheVenetian,togetherwiththeFlemishandtheDutchschools,allprofessingtodepartfromthegreatpurposesofpainting,andcatchingatapplausebyinferiorqualities。
  IamnotignorantthatsomewillcensuremeforplacingtheVenetiansinthisinferiorclass,andmanyofthewarmestadmirersofpaintingwillthinkthemunjustlydegraded;butIwishnottobemisunderstood。ThoughIcanbynomeansallowthemtoholdanyrankwiththenoblerschoolsofpainting,theyaccomplishedperfectlythethingtheyattempted。Butasmereeleganceistheirprincipalobject,astheyseemmorewillingtodazzlethantoaffect,itcanbenoinjurytothemtosupposethattheirpracticeisusefulonlytoitsproperend。Butwhatmayheightentheelegantmaydegradethesublime。Thereisasimplicity,andImayadd,severity,inthegreatmanner,whichis,Iamafraid,almostincompatiblewiththiscomparativelysensualstyle。
  Tintoret,PaulVeronese,andothersoftheVenetianschools,seemtohavepaintedwithnootherpurposethantobeadmiredfortheirskillandexpertnessinthemechanismofpainting,andtomakeaparadeofthatartwhich,asIbeforeobserved,thehigherstylerequiresitsfollowerstoconceal。
  InaconferenceoftheFrenchAcademy,atwhichwerepresentLeBrun,SebastianBourdon,andalltheeminentartistsofthatage,oneoftheacademiciansdesiredtohavetheiropinionontheconductofPaulVeronese,who,thoughapainterofgreatconsideration,had,contrarytothestrictrulesofart,inhispictureofPerseusandAndromeda,representedtheprincipalfigureinshade。Tothisquestionnosatisfactoryanswerwasthengiven。
  ButIwillventuretosay,thatiftheyhadconsideredtheclassoftheartist,andrankedhimasanornamentalpainter,therewouldhavebeennodifficultyinanswering:"Itwasunreasonabletoexpectwhatwasneverintended。HisintentionwassolelytoproduceaneffectoflightandShadow;everythingwastobesacrificedtothatintent,andthecapriciouscompositionofthatpicturesuitedverywellwiththestyleheprofessed。"
  Youngmindsareindeedtooapttobecaptivatedbythissplendourofstyle,andthatoftheVenetianswillbeparticularlypleasing;
  forbythemallthosepartsoftheartthatgivepleasuretotheeyeorsensehavebeencultivatedwithcare,andcarriedtothedegreenearesttoperfection。Thepowersexertedinthemechanicalpartofthearthavebeencalledthelanguageofpainters;butwemustsay,thatitisbutpooreloquencewhichonlyshowsthattheoratorcantalk。Wordsshouldbeemployedasthemeans,notastheend:languageistheinstrument,convictionisthework。
  Thelanguageofpaintingmustindeedbeallowedthesemasters;buteveninthattheyhaveshownmorecopiousnessthanchoice,andmoreluxuriancythanjudgment。Ifweconsidertheuninterestingsubjectsoftheirinvention,oratleasttheuninterestingmannerinwhichtheyaretreated;ifweattendtotheircapriciouscomposition,theirviolentandaffectedcontrasts,whetheroffigures,oroflightandshadow,therichnessoftheirdrapery,and,atthesametime,themeaneffectwhichthediscriminationofstuffsgivestotheirpictures;iftotheseweaddtheirtotalinattentiontoexpression,andthenreflectontheconceptionsandthelearningofMichaelAngelo,orthesimplicityofRaffaelle,wecannolongerdwellonthecomparison。Evenincolouring,ifwecomparethequietnessandchastityoftheBolognesepenciltothebustleandtumultthatfillseverypartof,aVenetianpicture,withouttheleastattempttointerestthepassions,theirboastedartwillappearamerestrugglewithouteffect;anemptytaletoldbyanidiot,fullofsoundandfury,signifyingnothing。
  Suchassupposethatthegreatstylemighthappilybeblendedwiththeornamental,thatthesimple,grave,andmajesticdignityofRaffaellecouldunitewiththeglowandbustleofaPauloorTintoret,aretotallymistaken。Theprinciplesbywhicheachareattainedaresocontrarytoeachother,thattheyseem,inmyopinion,incompatible,andasimpossibletoexisttogether,astouniteinthemindatthesametimethemostsublimeideasandthelowestsensuality。
  ThesubjectsoftheVenetianpaintersaremostlysuchasgivethemanopportunityofintroducingagreatnumberoffigures,suchasfeasts,marriages,andprocessions,publicmartyrdoms,ormiracles。
  IcaneasilyconceivethatPaulVeronese,ifhewereasked,wouldsaythatnosubjectwasproperforanhistoricalpicturebutsuchasadmittedatleastfortyfigures;forinalessnumber,hewouldassert,therecouldbenoopportunityofthepainter’sshowinghisartincomposition,hisdexterityofmanaginganddisposingthemassesoflight,andgroupsoffigures,andofintroducingavarietyofEasterndressesandcharactersintheirrichstuffs。
  Butthethingisverydifferentwithapupilofthegreaterschools。AnnibaleCaraccithoughttwelvefiguressufficientforanystory:heconceivedthatmorewouldcontributetonoendbuttofillspace;thattheywould,bebutcoldspectatorsofthegeneralaction,or,tousehisownexpression,thattheywouldbefigurestobelet。Besides,itisimpossibleforapicturecomposedofsomanypartstohavethateffect,soindispensablynecessarytograndeur,ofonecompletewhole。Howevercontradictoryitmaybeingeometry,itistrueintaste,thatmanylittlethingswillnotmakeagreatone。Thesublimeimpressesthemindatoncewithonegreatidea;itisasingleblow:theelegantindeedmaybeproducedbyarepetition,byanaccumulationofmanyminutecircumstances。
  HowevergreatthedifferenceisbetweenthecompositionoftheVenetianandtherestoftheItalianschools,thereisfullasgreatadisparityintheeffectoftheirpicturesasproducedbycolours。AndthoughinthisrespecttheVenetiansmustbeallowedextraordinaryskill,yeteventhatskill,astheyhaveemployedit,willbutillcorrespondwiththegreatstyle。Theircolouringisnotonlytoobrilliant,but,Iwillventuretosay,tooharmonioustoproducethatsolidity,steadiness,andsimplicityofeffectwhichheroicsubjectsrequire,andwhichsimpleorgravecoloursonlycangivetoawork。Thattheyaretobecautiouslystudiedbythosewhoareambitiousoftreadingthegreatwalkofhistoryisconfirmed,ifitwantsconfirmation,bythegreatestofallauthorities,MichaelAngelo。Thiswonderfulman,afterhavingseenapicturebyTitian,toldVasari,whoaccompaniedhim,"thathelikedmuchhiscolouringandmanner;butthenheadded,thatitwasapitytheVenetianpaintersdidnotlearntodrawcorrectlyintheirearlyyouth,andadoptabettermannerofstudy。"
  BythisitappearsthattheprincipalattentionoftheVenetianpainters,intheopinionofMichaelAngelo,seemedtobeengrossedbythestudyofcolours,totheneglectoftheidealbeautyofform,orproprietyofexpression。ButifgeneralcensurewasgiventothatschoolfromthesightofapictureofTitian,howmuchmoreheavily,andmorejustly,wouldthecensurefallonPauloVeronese,ormoreespeciallyonTintoret?AndhereIcannotavoidcitingVasari’sopinionofthestyleandmannerofTintoret。"Ofalltheextraordinarygeniuses,"sayshe,"thathaveeverpractisedtheartofpainting,forwild,capricious,extravagant,andfantasticalinventions,forfuriousimpetuosityandboldnessintheexecutionofhiswork,thereisnonelikeTintoret;hisstrangewhimsareevenbeyondextravagance;andhisworksseemtobeproducedratherbychancethaninconsequenceofanypreviousdesign,asifhewantedtoconvincetheworldthat,theartwasatrifle,andofthemosteasyattainment。"
  Formyownpart,whenIspeakoftheVenetianpainters,IwishtobeunderstoodtomeanPauloVeroneseandTintoret,totheexclusionofTitian;forthoughhisstyleisnotsopureasthatofmanyotheroftheItalianschools,yetthereisasortofsenatorialdignityabouthim,which,howeverawkwardinhisimitators,seemstobecomehimexceedingly。Hisportraitsalone,fromthenoblenessandsimplicityofcharacterwhichhealwaysgavethem,willentitlehimtothegreatestrespect,asheundoubtedlystandsinthefirstrankinthisbranchoftheart。
  ItisnotwithTitian,butwiththeseducingqualitiesofthetwoformer,thatIcouldwishtocautionyou,againstbeingtoomuchcaptivated。Thesearethepersonswhomaybesaidtohaveexhaustedallthepowersofflorideloquence,todebauchtheyoungandunexperienced,andhave,withoutdoubt,beenthecauseofturningofftheattentionoftheconnoisseurandofthepatronofart,aswellasthatofthepainter,fromthosehigherexcellencesofwhichtheartiscapable,andwhichoughttoberequiredineveryconsiderableproduction。Bythem,andtheirimitators,astylemerelyornamentalhasbeendisseminatedthroughoutallEurope。RubenscarriedittoFlanders,VoettoFrance,andLucaGiordanotoSpainandNaples。
  TheVenetianisindeedthemostsplendidoftheschoolsofelegance;anditisnotwithoutreasonthatthebestperformancesinthislowerschoolarevaluedhigherthanthesecond-rateperformancesofthoseabovethem;foreverypicturehasvaluewhenithasadecidedcharacter,andisexcellentinitskind。Butthestudentmusttakecarenottobesomuchdazzledwiththissplendourastobetemptedtoimitatewhatmustultimatelyleadfromperfection。Poussin,whoseeyewasalwayssteadilyfixedonthesublime,hasbeenoftenheardtosay,"Thataparticularattentiontocolouringwasanobstacletothestudentinhisprogresstothegreatendanddesignoftheart;andthathewhoattacheshimselftothisprincipalendwillacquirebypracticeareasonablygoodmethodofcolouring。"
  Thoughitbeallowedthatelaborateharmonyofcolouring,abrilliancyoftints,asoftandgradualtransitionfromonetoanother,presenttotheeyewhatanharmoniousconcertofmusicdoestotheear,itmustberememberedthatpaintingisnotmerelyagratificationofthesight。Suchexcellence,thoughproperlycultivatedwherenothinghigherthaneleganceisintended,isweakandunworthyofregard,whentheworkaspirestograndeurandsublimity。
  ThesamereasonsthathavebeenurgedwhyamixtureoftheVenetianstylecannotimprovethegreatstylewillholdgoodinregardtotheFlemishandDutchschools。Indeed,theFlemishschool,ofwhichRubensisthehead,wasformeduponthatoftheVenetian;
  likethem,hetookhisfigurestoomuchfromthepeoplebeforehim。
  ButitmustbeallowedinfavouroftheVenetiansthathewasmoregrossthanthey,andcarriedalltheirmistakenmethodstoafargreaterexcess。IntheVenetianschoolitself,wheretheyallerrfromthesamecause,thereisadifferenceintheeffect。ThedifferencebetweenPauloandBassanoseemstobeonlythatoneintroducedVenetiangentlemenintohispictures,andtheothertheboorsofthedistrictofBassano,andcalledthempatriarchsandprophets。
  ThepaintersoftheDutchschoolhavestillmorelocality。Withthem,ahistorypieceisproperlyaportraitofthemselves;whethertheydescribetheinsideoroutsideoftheirhouses,wehavetheirownpeopleengagedintheirownpeculiaroccupations,workingordrinking,playingorfighting。Thecircumstancesthatenterintoapictureofthiskindaresofarfromgivingageneralviewofhumanlifethattheyexhibitalltheminuteparticularitiesofanationdifferinginseveralrespectsfromtherestofmankind。Yet,letthemhavetheirshareofmorehumblepraise。Thepaintersofthisschoolareexcellentintheirownway;theyareonlyridiculouswhentheyattemptgeneralhistoryontheirownnarrowprinciples,anddebasegreateventsbythemeannessoftheircharacters。
  Someinferiordexterity,someextraordinarymechanicalpower,isapparentlythatfromwhichtheyseekdistinction。Thus,wesee,thatschoolalonehasthecustomofrepresentingcandle-light,notasitreallyappearstousbynight,butred,asitwouldilluminateobjectstoaspectatorbyday。Suchtricks,howeverpardonableinthelittlestyle,wherepettyeffectsarethesoleend,areinexcusableinthegreater,wheretheattentionshouldneverbedrawnasidebytrifles,butshouldbeentirelyoccupiedbythesubjectitself。
  ThesamelocalprincipleswhichcharacterisetheDutchschoolextendeventotheirlandscapepainters;andRubenshimself,whohaspaintedmanylandscapes,hassometimestransgressedinthisparticular。Theirpiecesinthiswayare,Ithink,alwaysarepresentationofanindividualspot,andeachinitskindaveryfaithfulbutveryconfinedportrait。
  ClaudeLorraine,onthecontrary,wasconvincedthattakingnatureashefounditseldomproducedbeauty。Hispicturesareacompositionofthevariousdraughtswhichhehaspreviouslymadefromvariousbeautifulscenesandprospects。However,Rubensinsomemeasurehasmadeamendsforthedeficiencywithwhichheischarged;hehascontrivedtoraiseandanimatehisotherwiseuninterestingviews,byintroducingarainbow,storm,orsomeparticularaccidentaleffectoflight。ThatthepracticeofClaudeLorraine,inrespecttohischoice,istobeadoptedbylandscapepainters,inoppositiontothatoftheFlemishandDutchschools,therecanbenodoubt,asitstruthisfoundeduponthesameprincipleasthatbywhichthehistoricalpainteracquiresperfectform。Butwhetherlandscapepaintinghasarighttoaspiresofarastorejectwhatthepainterscallaccidentsofnatureisnoteasytodetermine。ItiscertainClaudeLorraineseldom,ifever,availedhimselfofthoseaccidents;eitherhethoughtthatsuchpeculiaritieswerecontrarytothatstyleofgeneralnaturewhichheprofessed,orthatitwouldcatchtheattentiontoostrongly,anddestroythatquietnessandreposewhichhethoughtnecessarytothatkindofpainting。
  Aportraitpainterlikewise,whenheattemptshistory,unlessheisuponhisguard,islikelytoentertoomuchintothedetail。Hetoofrequentlymakeshishistoricalheadslooklikeportraits;andthiswasoncethecustomamongstthoseoldpainterswhorevivedtheartbeforegeneralideaswerepractisedorunderstood。Ahistorypainterpaintsmaningeneral;aportraitpainter,aparticularman,andconsequentlyadefectivemodel。
  Thusanhabitualpracticeinthelowerexercisesoftheartwillpreventmanyfromattainingthegreater。Butsuchofuswhomoveinthesehumblerwalksoftheprofessionarenotignorantthat,asthenaturaldignityofthesubjectisless,themoreallthelittleornamentalhelpsarenecessarytoitsembellishment。Itwouldberidiculousforapainterofdomesticscenes,ofportraits,landscapes,animals,orofstilllife,tosaythathedespisedthosequalitieswhichhavemadethesubordinateschoolssofamous。
  Theartofcolouring,andtheskilfulmanagementoflightandshadow,areessentialrequisitesinhisconfinedlabours。Ifwedescendstilllower,whatisthepainteroffruitandflowerswithouttheutmostartincolouring,andwhatthepainterscallhandling;thatis,alightnessofpencilthatimpliesgreatpractice,andgivestheappearanceofbeingdonewithease?Somehere,Ibelieve,mustrememberaflower-painterwhoseboastitwasthathescornedtopaintforthemillion;no,heprofessedtopaintinthetrueItaliantaste;anddespisingthecrowd,calledstrenuouslyuponthefewtoadmirehim。HisideaoftheItaliantastewastopaintasblackanddirtyashecould,andtoleaveallclearnessandbrilliancyofcolouringtothosewhowerefonderofmoneythanofimmortality。Theconsequencewassuchasmightbeexpected。Fortheseprettyexcellencesarehereessentialbeauties;andwithoutthismerittheartist’sworkwillbemoreshort-livedthantheobjectsofhisimitation。
  Fromwhathasbeenadvanced,wemustnowbeconvincedthattherearetwodistinctstylesinhistorypainting:thegrand,andthesplendidorornamental。
  Thegreatstylestandsalone,anddoesnotrequire,perhapsdoesnotsowelladmit,anyadditionfrominferiorbeauties。Theornamentalstylealsopossessesitsownpeculiarmerit。However,thoughtheunionofthetwomaymakeasortofcompositestyle,yetthatstyleislikelytobemoreimperfectthaneitherofthosewhichgotoitscomposition。Bothkindshavemerit,andmaybeexcellentthoughindifferentranks,ifuniformitybepreserved,andthegeneralandparticularideasofnaturebenotmixed。Eventhemeanestofthemisdifficultenoughtoattain;andthefirstplacebeingalreadyoccupiedbythegreatartistsineitherdepartment,someofthosewhofollowedthoughttherewaslessroomforthem,andfeelingtheimpulseofambitionandthedesireofnovelty,andbeingatthesametimeperhapswillingtotaketheshortestway,theyendeavouredtomakeforthemselvesaplacebetweenboth。Thistheyhaveeffectedbyformingaunionofthedifferentorders。Butasthegraveandmajesticstylewouldsufferbyaunionwiththefloridandgay,soalsohastheVenetianornamentinsomerespectbeeninjuredbyattemptinganalliancewithsimplicity。
  Itmaybeassertedthatthegreatstyleisalwaysmoreorlesscontaminatedbyanymeanermixture。Butithappensinafewinstancesthatthelowermaybeimprovedbyborrowingfromthegrand。Thus,ifaportraitpainterisdesiroustoraiseandimprovehissubject,hehasnoothermeansthanbyapproachingittoageneralidea。Heleavesoutalltheminutebreaksandpeculiaritiesintheface,andchangesthedressfromatemporaryfashiontoonemorepermanent,whichhasannexedtoitnoideasofmeannessfromitsbeingfamiliartous。Butifanexactresemblanceofanindividualbeconsideredasthesoleobjecttobeaimedat,theportraitpainterwillbeapttolosemorethanhegainsbytheacquireddignitytakenfromgeneralnature。Itisverydifficulttoennoblethecharacterofacountenancebutattheexpenseofthelikeness,whichiswhatismostgenerallyrequiredbysuchassittothepainter。
  Ofthosewhohavepractisedthecompositestyle,andhavesucceededinthisperilousattempt,perhapstheforemostisCorreggio。Hisstyleisfoundeduponmoderngraceandelegance,towhichissuper,addedsomethingofthesimplicityofthegrandstyle。Abreadthoflightandcolour,thegeneralideasofthedrapery,anuninterruptedflowofoutline,allconspiretothiseffect。Nexthim(perhapsequaltohim)ParmegianohasdignifiedthegenteelnessofmoderneffeminacybyunitingitwiththesimplicityoftheancientsandthegrandeurandseverityofMichaelAngelo。Itmustbeconfessed,however,thatthesetwoextraordinarymen,byendeavouringtogivetheutmostdegreeofgrace,havesometimes,perhaps,exceededitsboundaries,andhavefallenintothemosthatefulofallhatefulqualities,affectation。Indeed,itisthepeculiarcharacteristicofmenofgeniustobeafraidofcoldnessandinsipidity,fromwhichtheythinktheynevercanbetoofarremoved。Itparticularlyhappenstothesegreatmastersofgraceandelegance。Theyoftenboldlydriveontotheveryvergeofridicule;thespectatorisalarmed,butatthesametimeadmirestheirvigourandintrepidity。
  Strangegracesstill,andstrangerflightstheyhad,……
  Yetne’ersosureourpassiontocreateAewhentheytouch’dthebrinkofallwehate。
  Theerrorsofgenius,however,arepardonable,andnoneevenofthemoreexaltedpaintersarewhollyfreefromthem;buttheyhavetaughtus,bytherectitudeoftheirgeneralpractice,tocorrecttheirownaffectedoraccidentaldeviation。Theveryfirsthavenotbeenalwaysupontheirguard,andperhapsthereisnotafaultbutwhatmaytakeshelterunderthemostvenerableauthorities;yetthatstyleonlyisperfectinwhichthenoblestprinciplesareuniformlypursued;andthosemastersonlyareentitledtothefirstrankin,ourestimationwhohaveenlargedtheboundariesoftheirart,andhaveraisedittoitshighestdignity,byexhibitingthegeneralideasofnature。
  Onthewhole,itseemstomethatthereisbutonepresidingprinciplewhichregulatesandgivesstabilitytoeveryart。Theworks,whetherofpoets,painters,moralists,orhistorians,whicharebuiltupongeneralnature,liveforever;whilethosewhichdependfortheirexistenceonparticularcustomsandhabits,apartialviewofnature,orthefluctuationoffashion,canonlybecoevalwiththatwhichfirstraisedthemfromobscurity。Presenttimeandfuturemaybeconsideredasrivals,andhewhosolicitstheonemustexpecttobediscountenancedbytheother。
  ADISCOURSE
  DeliveredtotheStudentsoftheRoyalAcademyontheDistributionofthePrizes,December10,1772,bythePresident。
  Gentlemen,——IpurposetocarryoninthisdiscoursethesubjectwhichIbeganinmylast。Itwasmywishuponthatoccasiontoinciteyoutopursuethehigherexcellencesoftheart。ButIfearthatinthisparticularIhavebeenmisunderstood。Somearereadytoimagine,whenanyoftheirfavouriteacquirementsintheartareproperlyclassed,thattheyareutterlydisgraced。Thisisaverygreatmistake:nothinghasitsproperlustrebutinitsproperplace。Thatwhichismostworthyofesteeminitsallottedspherebecomesanobject,notofrespect,butofderision,whenitisforcedintoahigher,towhichitisnotsuited;andthereitbecomesdoublyasourceofdisorder,byoccupyingasituationwhichisnotnaturaltoit,andbyputtingdownfromthefirstplacewhatisinrealityoftoomuchmagnitudetobecomewithgraceandproportionthatsubordinatestation,towhichsomethingoflessvaluewouldbemuchbettersuited。
  Myadviceinawordisthis:keepyourprincipalattentionfixeduponthehigherexcellences。Ifyoucompassthemandcompassnothingmore,youarestillinthefirstclass。Wemayregrettheinnumerablebeautieswhichyoumaywant:youmaybeveryimperfect:butstill,youareanimperfectpersonofthehighestorder。
  If,whenyouhavegotthusfar,youcanaddany,orall,ofthesubordinatequalifications,itismywishandadvicethatyoushouldnotneglectthem。
  Butthisisasmuchamatterofcircumspectionandcautionatleastasofeagernessandpursuit。
  Themindisapttobedistractedbyamultiplicityofpursuits;andthatscaleofperfection,whichIwishalwaystobepreserved,isinthegreatestdangerofbeingtotallydisordered,andeveninverted。
  Someexcellencesbeartobeunited,andareimprovedbyunion,othersareofadiscordantnature;andtheattempttojointhemonlyproducesaharsherjarringofincongruentprinciples。
  Theattempttounitecontraryexcellences(ofform,forinstance)
  inasinglefigure,canneverescapedegeneratingintothemonstrous,butbysinkingintotheinsipid,takingawayitsmarkedcharacter,andweakeningitsexpression。
  Thisremarkistruetoacertaindegreewithregardtothepassions。Ifyoumeantopreservethemostperfectbeautyinitsmostperfectstate,youcannotexpressthepassions,whichproduce(allofthem)distortionanddeformity,moreorless,inthemostbeautifulfaces。
  Guido,fromwantofchoiceinadaptinghissubjecttohisideasandhispowers,orinattemptingtopreservebeautywhereitcouldnotbepreservedhasinthisrespectsucceededveryill。Hisfiguresareoftenengagedinsubjectsthatrequiredgreatexpression:yethis"JudithandHolofernes,"the"DaughterofHerodiaswiththeBaptist’sHead,"the"Andromeda,"andeventhe"MothersoftheInnocents,"havelittlemoreexpressionthanhis"VenusattiredbytheGraces。"
  Obviousastheseremarksappear,therearemanywritersonourart,who,notbeingoftheprofession,andconsequentlynotknowingwhatcanorwhatcannotbedone,havebeenveryliberalofabsurdpraisesintheirdescriptionsoffavouriteworks。Theyalwaysfindinthemwhattheyareresolvedtofind。Theypraiseexcellencesthatcanhardlyexisttogether,andaboveallthingsarefondofdescribingwithgreatexactnesstheexpressionofamixedpassion,whichmoreparticularlyappearstomeoutofthereachofourart。
  SucharemanydisquisitionswhichIhavereadonsomeofthecartoonsandotherpicturesofRaffaelle,wherethecriticshavedescribedtheirownimagination;orindeedwheretheexcellentmasterhimselfmayhaveattemptedthisexpressionofpassionsabovethepowersoftheart;andhas,therefore,byanindistinctandimperfectmarking,leftroomforeveryimagination,withequalprobabilitytofindapassionofhisown。Whathasbeen,andwhatcanbedoneintheart,issufficientlydifficult;weneednotbemortifiedordiscouragedfornotbeingabletoexecutetheconceptionsofaromanticimagination。Arthasitsboundaries,thoughimaginationhasnone。Wecaneasily,liketheancients,supposeaJupitertobepossessedofallthosepowersandperfectionswhichthesubordinateDeitieswereendowedwithseparately。Yet,whentheyemployedtheirarttorepresenthim,theyconfinedhischaractertomajestyalone。Pliny,therefore,thoughweareundergreatobligationstohimfortheinformationhehasgivenusinrelationtotheworksoftheancientartists,isveryfrequentlywrongwhenhespeaksofthem,whichhedoesveryofteninthestyleofmanyofourmodernconnoisseurs。HeobservesthatinastatueofParis,byFuphranor,youmightdiscoveratthesametimethreedifferentcharacters;thedignityofajudgeofthegoddesses,theloverofHelen,andtheconquerorofAchilles。A
  statueinwhichyouendeavourtounitestatelydignity,youthfulelegance,andsternvalour,mustsurelypossessnoneofthesetoanyeminentdegree。
  Fromhenceitappearsthatthereismuchdifficultyaswellasdangerinanendeavourtoconcentrateuponasinglesubjectthosevariouspowerswhich,risingfromdifferentpoints,naturallymoveindifferentdirections。
  Thesummitofexcellenceseemstobeanassemblageofcontraryqualities,butmixed,insuchproportions,thatnoonepartisfoundtocounteracttheother。Howhardthisistobeattainedineveryart,thoseonlyknowwhohavemadethegreatestprogressintheirrespectiveprofessions。
  ToconcludewhatIhavetosayonthispartofthesubject,whichI
  thinkofgreatimportance,IwishyoutounderstandthatIdonotdiscouragetheyoungerstudentsfromthenobleattemptofunitingalltheexcellencesofart,buttomakethemawarethat,besidesthedifficultieswhichattendeveryarduousattempt,thereisapeculiardifficultyinthechoiceoftheexcellenceswhichoughttobeunited;Iwishyoutoattendtothis,thatyoumaytryyourselves,wheneveryouarecapableofthattrial,whatyoucan,andwhatyoucannotdo:andthat,insteadofdissipatingyournaturalfacultiesovertheimmensefieldofpossibleexcellence,youmaychoosesomeparticularwalkinwhichyoumayexerciseallyourpowers,inordereachofyoutobethefirstinhisway。Ifanymanshallbemasterofsuchatranscendant,commanding,andductilegenius,astoenablehimtorisetothehighest,andtostooptothelowestflightsofart,andtosweepoverallofthemunobstructedandsecure,heisfittertogiveexamplethantoreceiveinstruction。
  Havingsaidthusmuchontheunionofexcellences,Iwillnextsaysomethingofthesubordinationinwhichvariousexcellencesoughttobekept。
  Iamofopinionthattheornamentalstyle,whichinmydiscourseoflastyearIcautionedyouagainstconsideringasprincipal,maynotbewhollyunworthytheattentionofthosewhoaimevenatthegrandstyle;whenitisproperlyplacedandproperlyreduced。
  Butthisstudywillbeusedwithfarbettereffect,ifitsprinciplesareemployedinsofteningtheharshnessandmitigatingtherigourofthegreatstyle,thanifinattempttostandforwardwithanypretensionsofitsowntopositiveandoriginalexcellence。
  ItwasthusLodovicoCaracci,whoseexampleIformerlyrecommendedtoyou,employedit。HewasacquaintedwiththeworksbothofCorreggioandtheVenetianpainters,andknewtheprinciplesbywhichtheyproducedthosepleasingeffectswhichatthefirstglanceprepossessussomuchintheirfavour;buthetookonlyasmuchfromeachaswouldembellish,butnotoverpower,thatmanlystrengthandenergyofstyle,whichishispeculiarcharacter。
  SinceIhavealreadyexpatiatedsolargelyinmyformerdiscourse,andinmypresent,uponthestylesandcharactersofpainting,itwillnotbeatallunsuitabletomysubjectifImentiontoyousomeparticularsrelativetotheleadingprinciples,andcapitalworksofthosewhoexcelledinthegreatstyle,thatImaybringyoufromabstractionnearertopractice,andbyexemplifyingthepropositionswhichIhavelaiddown,enableyoutounderstandmoreclearlywhatIwouldenforce。
  Theprincipalworksofmodernartareinfresco,amodeofpaintingwhichexcludesattentiontominuteelegancies:yettheseworksinfrescoaretheproductionsonwhichthefameofthegreatestmastersdepend:sucharethepicturesofMichaelAngeloandRaffaelleintheVatican,towhichwemayaddthecartoons,which,thoughnotstrictlytobecalledfresco,yetmaybeputunderthatdenomination;andsucharetheworksofGiulioRomanoatMantua。
  Iftheseperformancesweredestroyed,withthemwouldbelostthebestpartofthereputationofthoseillustriouspainters,forthesearejustlyconsideredasthegreatesteffortsofourartwhichtheworldcanboast。Tothese,therefore,weshouldprincipallydirectourattentionforhigherexcellences。Asforthelowerarts,astheyhavebeenoncediscovered,theymaybeeasilyattainedbythosepossessedoftheformer。
  Raffaelle,whostandsingeneralforemostofthefirstpainters,oweshisreputation,asIhaveobserved,tohisexcellenceinthehigherpartsoftheart。Therefore,hisworksinfrescooughttobethefirstobjectofourstudyandattention。Hiseasel-worksstandinalowerdegreeofestimation;forthoughhecontinually,tothedayofhisdeath,embellishedhisworksmoreandmorewiththeadditionoftheselowerornaments,whichentirelymakethemeritofsome,yetheneverarrivedatsuchperfectionastomakehimanobjectofimitation。Heneverwasabletoconquerperfectlythatdryness,orevenlittlenessofmanner,whichheinheritedfromhismaster。Heneveracquiredthatnicetyoftasteincolours,thatbreadthoflightandshadow,thatartandmanagementofunitinglight,tolight,andshadowtoshadow,soastomaketheobjectriseoutofthegroundwiththatplenitudeofeffectsomuchadmiredintheworksofCorreggio。Whenhepaintedinoil,hishandseemedtobesocrampedandconfinedthathenotonlylostthatfacilityandspirit,butIthinkeventhatcorrectnessofform,whichissoperfectandadmirableinhisfrescoworks。Idonotrecollectanypicturesofhisofthiskind,exceptperhapsthe"Transfiguration,"inwhichtherearenotsomepartsthatappeartobeevenfeeblydrawn。Thatthisisnotanecessaryattendantonoil-painting,wehaveabundantinstancesinmoremodernpainters。
  LodovicoCaracci,forinstance,preservedinhisworksinoilthesamespirit,vigour,andcorrectness,whichhehadinfresco。I
  havenodesiretodegradeRaffaellefromthehighrankwhichhedeservedlyholds:butbycomparinghimwithhimself,hedoesnotappeartometobethesamemaninoilasinfresco。
  Fromthosewhohaveambitiontotreadinthisgreatwalkoftheart,MichaelAngeloclaimsthenextattention。HedidnotpossesssomanyexcellencesasRaffaelle,butthosehehadwereofthehighestkind。Heconsideredtheartasconsistingoflittlemorethanwhatmaybeattainedbysculpture,correctnessofform,andenergyofcharacter。Weoughtnottoexpectmorethananartistintendsinhiswork。Heneverattemptedthoselessereleganciesandgracesintheart。Vasarisays,heneverpaintedbutonepictureinoil,andresolvednevertopaintanother,sayingitwasanemploymentonlyfitforwomenandchildren。
  Ifanymanhadarighttolookdownupontheloweraccomplishmentsasbeneathhisattention,itwascertainlyMichaelAngelo:norcanitbethoughtstrangethatsuchamindshouldhaveslightedorhavebeenwithheldfrompayingdueattentiontoallthosegracesandembellishmentsofartwhichhavediffusedsuchlustreovertheworksofotherpainters。