Attempts to emphasize ugliness by artists of inferior rank result in the fantastic or the ludicrous, as in the representation of evil spirits on the old Etruscan tombs, and the whimsical imps of the Breughels and the younger Teniers.
CHAPTER VII
EXPRESSION. PART II.—CHRISTIAN IDEALS
The Deity—Christ—The Madonna—The Madonna and Child.
In considering the scope for the exhibition of ideals in art, it should be remembered that ideal types of some of the principal personages in religious and mythological history have been already fixed by great artists, and it is impossible to depart from them without producing what would appear to be abnormal representations. Homer led the way with occasional hints of the presumed physical appearance of some of the leading deities of Greece, and except in the case of Aphrodite the later Grecian sculptors closely followed him. The Zeus of Homer as improved by Phidias has been the model of this deity in respect of form for nearly every succeeding sculptor to this day, while it was also the model which suggested the Christian Father as represented by the first artists of the Renaissance, though, as already indicated, the majestic dignity of the Phidian Zeus was partly sacrificed by the Christian artists. Phidias in fact created a type which, so far as human foresight can judge, must ever guide the artistic mind, whether portraying the mighty son of Kronos, or the God of the Christians. Only very rarely nowadays is the Christian Deity pictured in art, and as time goes on His introduction in human shape in a painting will become still more rare in conformity with changing religious ideas and practices; but now and hereafter any artist who contemplates the representation, must, voluntarily or involuntarily, turn to the frescoes of Raphael and Michelangelo for his guide.
Raphael's Virgin of the Rose with the Face of "Profane Love" in Titian's Picture Substituted for that of the Virgin
(See [page 138])