Ovid. Metam. L. IV.
The fountain was near Halicarnassus in Caria. Vitruvius[285] thought he had discovered the truth of that fiction: some inhabitants of Argos and Trœzene, says he, going thither with a mind to settle, dispossessed the Carians and Leleges; who, sheltering themselves among the mountains, began to harass the Greeks with their excursions: but one of the inhabitants having discovered some particular qualities in that fountain, erected a building near it, for the convenience of those who had a mind to make use of its water. Greeks and Barbarians mingled there; and these at length, accustomed to the Greek civility, lost their savageness, and were insensibly moulded into another nature. The fable itself is well known to the artists: but the narrative of Vitruvius might instruct them how to draw the allegory of a people taught humanity and civilised, like the Russians by Peter the First. The fable of Orpheus might serve the same purpose. Expression only must decide the choice.
Supposing the above general observations upon allegory insufficient to evince its necessity in painting, the examples will at least demonstrate, that painting reaches beyond the senses.
The two chief performances in allegorical painting, mentioned in my treatise, viz. the Luxemburg gallery, and the cupola of the Imperial Library at Vienna, may shew how poetical, how happy an use their authors made of allegory.
Rubens proposing to paint Henry IV. as a humane victor, with lenity and goodness prevailing, even in the punishment of unnatural rebels, and treacherous banditti, represents him as Jupiter ordering the gods to overthrow and punish the vices: Apollo and Minerva let fly their darts upon them, and the vices, hideous monsters, in a tumultuous uproar tumble over each other: Mars, entering in a fury, threatens total destruction; but Venus, image of celestial love, gently lays hold of his arm:—you fancy you hear her blandishing petition to the mailed god: “rage not with cruel revenge against the vices—they are punished.”
The whole performance of Daniel Gran[286] is an allegory, relative to the Imperial Library, and all its figures are as the branches of one single tree. ’Tis a painted Epopee, not beginning from the eggs of Leda; but, as Homer chiefly rehearses the anger of Achilles, this immortalizes only the Emperor’s care of the sciences. The preparations for the building of the library are represented in the following manner:
Imperial majesty appears as a lady fitting, her head sumptuously dressed, and on her breast a golden heart, as a symbol of the Emperor’s generosity. With her sceptre the gives the summons to the builders; at her feet sits a genius with an angle, palette, and chissel; another hovers over her with the figures of the Graces, as symbols of that good taste which prevailed in the whole. Next to the chief figure sits general Liberality, with a purse in her hand; below her a genius, with the table of the Roman Congiarius, and behind her the Austrian Liberality, her mantle embroidered with larks. Several Genii gather the treasures that flow from her Cornucopia, in order to distribute them among the votaries of the arts and sciences, chiefly those, whose good offices to the library had entitled them to regard. The execution of the Imperial orders personified, directs her face to the commanding figure, and three children present the model of the house. Next her an old man, the image of Experience, measures on a table the plan of the building, a genius standing beneath him with a plummet, as ready to begin. Next the old man sits Invention, with a statue of Isis in her right, and a book in her left hand, signifying, that Nature and Science are the fathers of Invention, the puzzling schemes of which are represented by a Sphinx lying before her.
This performance was compared to the great platfond of Le Moine at Versailles, with an eye to the newest productions of France and Germany alone: for the great gallery of the same palace, painted by Charles le Brun, is, without doubt, the sublimest performance of poetick painting, since the time of Rubens; and being possessed of this, as well as of the gallery of Luxemburg, France may boast of the two most learned allegorical performances.
The gallery of Le Brun contains the history of Louis XIV. from the Pyrenæan peace, to that of Nimeguen, in nine large, and eighteen smaller pieces: that in which the King determines war against Holland, contains, in itself alone, an ingenious and sublime application of almost the whole mythology[287]: its beauties are too exuberant for this treatise; let the artist’s ideas be judged only by two of the smaller compositions. He represents the famous passage over the Rhine: his hero sits in a chariot, a thunderbolt in his hand, and Hercules, the image of heroism, drives him through the midst of tempestuous waves. The figure representing Spain is borne down by the current: the river god, aghast, lets fall his oar: the victories, approaching on rapid wings, present shields, marked with the names of the towns conquered after the passage. Europa astonished beholds the scene.