On Domenichino's two most famous pictures at Bologna Mr. Ruskin has written one of his over-poweringly virulent invectives.[226] It is worth inserting here at length. More passionate words could hardly be chosen to express the disgust inspired in minds attuned to earlier Italian art by these once worshiped paintings. Mr. Ruskin's obvious injustice, intemperance, and ostentatious emphasis will serve to point the change of opinion which has passed over England since Sir Joshua Reynolds wrote. His denunciation of the badness of Domenichino's art, though expressed with such a clangor of exaggeration, fairly represents the feeling of modern students. 'The man,' he says, 'who painted the Madonna del Rosario and Martyrdom of S. Agnes in the gallery of Bologna, is palpably incapable of doing anything good, great, or right in any field, way, or kind whatsoever.... This is no rash method of judgment, sweeping and hasty as it may appear. From the weaknesses of an artist, or failures, however numerous, we have no right to conjecture his total inability; a time may come when he shall rise into sudden strength, or an instance occur when his efforts shall be successful. But there are some pictures which rank not under the head of failures, but of perpetrations or commissions; some things which a man cannot do or say without seal ing forever his character and capacity. The angel holding the cross with his finger in his eye, the roaring, red-faced children about the crown of thorns, the blasphemous (I speak deliberately and determinedly) head of Christ upon the handkerchief, and the mode in which the martyrdom of the saint is exhibited (I do not choose to use the expressions which alone could characterize it), are perfect, sufficient, incontrovertible proofs that whatever appears good in any of the doings of such a painter must be deceptive, and that we may be assured that our taste is corrupted and false whenever we feel disposed to admire him. I am prepared to support this position, however uncharitable it may seem; a man may be tempted into a gross sin by passion, and forgiven; and yet there are some kinds of sins into which only men of a certain kind can be tempted, and which cannot be forgiven. It should be added, however, that the artistical qualities of these pictures are in every way worthy of the conceptions they realize. I do not recollect any instance of color or execution so coarse and feelingless.'
We have only to think of the S. Agnes by Tintoretto, or of Luini's St. Catherine, in order to be well aware how far Domenichino, as a painter, deviated from the right path of art.[227]
Yet we are bound to acquit him, as a man, of that moral obliquity which Mr. Ruskin seems to impute. Indeed, we know Domenichino to have been an unaffectedly good fellow. He was misled by his dramatic bias, and also by the prevalent religious temper of his age. Jesuitry had saturated the Italian mind; and in a former chapter I have dwelt upon the concrete materialism which formed the basis of the Jesuitical imagination. In portraying the martyrdom of S. Agnes as he has done, Domenichino was only obeying the rules of Loyola's Exercitia. That he belonged to a school which was essentially vulgar in its choice of type, to a city never distinguished for delicacy of taste, and to a generation which was rapidly losing the sense of artistic reserve, suffices to explain the crude brutality of the conceptions which he formed of tragic episodes.[228] The same may be said about all those horrible pictures of tortures, martyrdoms, and acts of violence which were produced by the dozen in Italy at this epoch. We turn from them with loathing. They inspire neither terror nor pity, only the sickness of the shambles. And yet it would be unjust to ascribe their unimaginative ghastliness to any special love of cruelty. This evil element may be rationally deduced from false dramatic instinct and perverted habits of brooding sensuously on our Lord's Passion, in minds deprived of the right feeling for artistic beauty.
Probably Domenichino thought that he was surpassing Titian's Peter Martyr when he painted his hard and hideous parody of that great picture. Yet Titian had already touched the extreme verge of allowable realization, and his work belonged to the sphere of higher pictorial art mainly by right of noble treatment. Of this noble treatment, and of the harmonious coloring which shed a sanctifying splendor over the painful scene, Domenichino stripped his master's design. What he added was grimace, spasm, and the expression of degrading physical terror.
That Domenichino could be, in his own way, stately, is proved by the Communion of S. Jerome, in which he rehandled Agostino Caracci's fine conception. Though devoid of charm, this justly celebrated painting remains a monument of the success which may be achieved by the vigorous application of robust intellectual powers to the working out of a well-conceived and fully developed composition. Domenichino's gigantic saints and Sibyls, with their fleshy limbs, red cheeks, and upturned eyes, though famous enough in the last century, do not demand a word of comment now.[229] So strangely has taste altered, that to our eyes they seem scarcely decorative.
While the Caracci were reviving art at Bologna in the way that I have described, Caravaggio in Rome opposed the Mannerists after his own and a very different fashion.[230] The insipidities of men like Cesari drove him into a crude realism. He resolved to describe sacred and historical events just as though they were being enacted in the Ghetto by butchers and fishwives. This reaction against flimsy emptiness was wholesome; and many interesting studies from the taverns of Italy, portraits of gamesters, sharpers, bravi and the like, remain to prove Caravaggio's mastery over scenes of common life.[231] But when he applied his principles to higher subjects, their vulgarity became apparent. Only in one picture, the Entombment in the Vatican, did he succeed in affecting imagination forcibly by the evident realization of a tragic scene. His martyrdoms are inexpressibly revolting, without appeal to any sense but savage blood-lust. It seems difficult for realism, either in literature or art, not to fasten upon ugliness, vice, pain, and disease, as though these imperfections of our nature were more real than beauty, goodness, pleasure, and health. Therefore Caravaggio, the leader of a school which the Italians christened Naturalists, may be compared to Zola.
A Spaniard, settled at Naples—Giuseppe Ribera, nicknamed Lo Spagnoletto—carried on Caravaggio's tradition. Spagnoletto surpassed his master in the brutally realistic expression of physical anguish. His Prometheus writhing under the beak of the vulture, his disembowelled martyrs and skinless S. Bartholomews, are among the most nauseous products of a masculine nature blessed with robust health. Were they delirious or hysterical, they would be less disgusting. But no; they are merely vigorous and faithful representations of what anybody might have witnessed, when a traitor like Ravaillac or a Lombard untore was being put to death in agony. His firm mental grip on cruelty, and the somber gloom with which he invested these ghastly transcripts from the torture-chamber, prove Ribera true to his Spanish origin. Caravaggio delighted in color, and was indeed a colorist of high rank, considering the times in which he lived. Spagnoletto rejoiced in somber shadows, as though to illustrate the striking sonnet I have quoted in another place from Campanella.[232]
This digression upon the Naturalists was needed partly to illustrate the nature of the attempted revival of the art of painting at this epoch, and partly to introduce two notable masters of the Bolognese school. Lionello Spada, a street-arab of Bologna, found his way into the studio of the Caracci, where he made himself a favorite by roguish ways and ready wit. He afterwards joined Caravaggio, and, when he reappeared in Lombardy, he had formed a manner of his own, more resplen dent in color and more naturalistic than that of the Caracci, but with less of realism than his Roman teacher's. If I could afford space for anecdotical details, the romance of Spada's life would furnish much entertaining material. But I must press on toward Guercino, who represents in a more famous personality this blending of the Bolognese and Naturalistic styles. Giovanni Francesco Barbieri got his nickname of Il Guercino, or the 'Squintling,' from an accident which distorted his right eye in babyhood. Born of poor parents, he was apprenticed to indifferent painters in Bologna at an early age, his father agreeing to pay for the boy's education by a load of grain and a vat of grapes delivered yearly. Thus Guercino owed far less to academical studies than to his own genius. Being Lodovico Caracci's junior by thirty-five years, and Annibale's by thirty, he had ample opportunities for studying the products of their school in Bologna, without joining the Academy. A generation lay between him and the first Eclectics. Nearly the same space of time separated Guercino from the founder of the Naturalists, and it was universally admitted in his lifetime that he owed to Caravaggio in coloring no less than he derived from the Caracci in sobriety and dignity of conception. These qualities of divergent schools Guercino combined in a manner marked by salient individuality. As a colorist, he approached the Tenebrosi—those lovers of surcharged shadows and darkened hues, whose gloom culminated in Ribera. But we note a fat and buttery impasto in Guercino, which distinguishes his work from the drier and more meager manner of the Roman-Neapolitan painters. It is something characteristic of Bologna, a richness which we might flippantly compare to sausage, or a Flemish smoothness, indicating Calvaert's influence. More than this, Guercino possessed a harmony of tones peculiar to himself, and strongly contrasted with Guido's silver-gray gradations. Guido's coloring, at its best, often reminds one of olive branches set against a blue sea and pale horizon in faintly amber morning light. The empurpled indigoes, relieved by smouldering Venetian red, which Guercino loved, suggest thunder-clouds, dispersed, rolling away through dun subdued glare of sunset reflected upward from the west. And this scheme of color, vivid but heavy, luminous but sullen, corresponded to what contemporaries called the Terribilità of Guercino's conception. Terribleness was a word which came into vogue to describe Michelangelo's grand manner. It implied audacity of imagination, dashing draughtsmanship, colossal scale, something demonic and decisive in execution.[233] The terrible takes in Guercino's work far lower flights than in the Sistine Chapel. With Michelangelo it soared like an eagle; with Guercino it flitted like a bat. His brawny saints are ponderous, not awe-inspiring.
Yet we feel that the man loved largeness, massiveness, and volume; that he was preoccupied with intellectual problems; planning deeply, and constructing strongly, under conditions unfavorable to spiritual freedom.
Guercino lived the life of an anchorite, absorbed in studies, unwived, sober, pious, truthful, sincere in his commerce with the world, unaffectedly virtuous, devoted to his art and God. Some of his pictures bring forcibly before our minds the religious milieu created by the Catholic Revival. I will take the single instance of a large oil-painting in the Bolognese Gallery. It represents the reception of a Duke of Aquitaine into monastic orders by S. Bernard. The knightly quality of the hero is adequately portrayed; his piety is masculine. But an accessory to the main subject of the composition arrests attention. A monk, earnestly pleading, emphatically gesticulating, addresses himself to the task of converting a young squire. Perugino, or even Raphael, would have brought the scene quite otherwise before us. The Duke's consecration would of course have occupied a commanding place in the picture. But the episodes would have been composed of comely groups or animated portraits. Guercino, obedient to the religious spirit of the Counter-Reformation, compels sympathy with ecclesiastical propaganda.