We cannot conclude, from the Homeric shape which Zeuxis gave his female figures, that he raised them, like Rubens, into flesh-hills. There is some reason to believe, from the education of the Spartan ladies, that they had something of a masculine vigour, though they were the chief beauties of Greece; and such a one is the Helena of Theocritus.
All this makes me doubt of finding among the ancients any companion for Jacob Jordans, though he is so zealously defended in your letter. Nor am I afraid of maintaining what I have said concerning him. Mr. d’Argenville is indeed a very industrious collector of criticisms upon the artists; but as his design is not very extensive, so his decisions are often too general, to afford us characteristical ideas of his heroes.
A good eye must be allowed to be a better judge, in matters of this kind, than all the ambiguous decisions of authors: and to fix the character of Jordans, I might content myself with appealing to his Diogenes, and the Purification, in the royal cabinet at Dresden. But, for the reader’s sake, let me inquire into the meaning of what you call Truth in painting. For if truth, in the general sense, can by no means be excluded from any branch of the arts, we have, in the decision of Mr. d’Argenville, a riddle to unfold, which, if it has any meaning at all, must have the following:
Rubens, enabled by the inexhaustible fertility of his genius, to pour forth fictions like Homer himself, displays his riches even to prodigality: like him he loved the marvellous, as well in thought and grandeur of conception, as in composition, and chiar’-oscuro. His figures are composed in a manner unknown before him, and his lights, jointly darting upon one great mass, diffuse over all his works a bold harmony, and amazing spirit. Jordans, a genius of a lower class, cannot, in the ideal part of painting, by any means be compared with his great master. He had no wings to soar above nature; for which reason he humbly followed, and painted her as he found her: and if this be truth, he, no doubt, had a larger share of it than Rubens.
If the modern artists, with regard to forms and beauty, are not to be directed by antiquity, there is no authority left to influence them. Some, in painting Venus, would give her a Frenchified air[178]; another would present her with an Aquiline nose, the Medicean Venus, as they would say, having such a one[179]: her hands would be provided with spindles instead of fingers; and she would ogle us with Chinese eyes, like the beauties of a new Italian school. Every artist, in short, would, by his performance, betray his country: but, as Democritus says[180], if the artists ought to pray the gods to let them meet with none but auspicious images, those of the ancients will best suit their wishes.
Let us, however, make some exception in favour of Fiamingo’s children. For, lustiness and full health being the common burden of the praises of children, whose infant forms are not strictly susceptible of that beauty, which belongs to the steadiness of riper years; the imitation of his children has reasonably become a fashion among our artists. But neither this, nor the indulgence of the academy at Vienna, can be, or indeed was meant to be decisive, in favour of the modern children; it only leads us to make a distinction. The ancients went beyond nature, even in their children: the moderns only follow her; and, provided their infant forms, exuberant as they are, do not influence their ideas of youthful and riper bodies, they may be allowed to be in the right, though, at the same time, the ancients were not in the wrong.
Our artists are, likewise, at full liberty to dress the hair of their figures as they please: but, being so fond of nature, they, must needs know, that it is nature which shades, with pendant locks, the forehead and temples of all those, whose life is not spent between the comb and the looking-glass: and finding this manner carefully observed in most statues of the ancients, they may take it as a proof of their attachment to simplicity and truth; a proof of the more weight, as they did not want people, busier in adorning their bodies than their minds, and as nice in adjusting their hair, as the most elegant of our European courtiers. But it was commonly looked upon as a mark of an ingenuous and noble extraction, to dress the hair in the manner of the statues[181].
The imitation of the ancient contour has indeed never been rejected, not even by those whose chief want was that of correctness: but we differ about imitating that “noble simplicity and sedate grandeur” in their works. An expression which hath seldom met with general approbation, and never pronounced without hazard of being misunderstood.
In the Hercules of Bandinelli, the idea of it was deemed a fault[182]: an usurpation in Raphael’s Massacre of the Innocents[183].