"The ground which I shall propose for your attention is this--to investigate those philosophical principles on which all truth of character is founded, and by which that sublime attainment, the highest refinement in art, and without which every thing else is merely mechanical, may be brought to a decided point, in all the variety by which it is distinguished through the animated world.
"On this ground, and on this alone, rose Phidias and Apelles to the celebrity which they held among the Greeks; and among the Italians, Leonardo da Vinci, Michael Angelo, Raphael, Titian, Correggio, and some others, who became the completest models in sculpture and painting. Their predecessors, indeed, in both countries, had for a considerable time been preparing the way, but not having equally studied the best means, or those means not having been equally before them, it was reserved of course for the great characters I have mentioned, to unite philosophical with professional truth, and to exhibit to the world in their works the standards of style. From the same source arose another consequence, ever worthy and pleasing to be mentioned;--the exhibition of those perfections was always accompanied by that ardent patronage, which not only cheered their minds, and invigorated their powers, but has left a glory on their country, which no subsequent events have been able to obliterate, and which never will be obliterated in any country where the sublimity of art, involving the most refined embellishments of civilized life, is cherished by those who are in a capacity to cherish it.
"In a very early period of the arts in Greece, we meet with a circumstance which shows the advantages derived from consulting with philosophy, if it does not also show the origin and outset of those advantages. The circumstance to which I allude is, that in the period when the sculptors contented themselves with the stationary forms and appearance of figures, in imitation of their predecessors, the Egyptians; at that time they began to submit their works to the judgment of philosophers, one of whom, being called in to survey a statue, which a sculptor, then eminent, was going to expose to public view, remarked, that the human figure before him wanted motion, or that expression of intellect and will, from which motion and character too must arise; for man had a soul and mind, which put him at the head of the animal creation, and, therefore, without that soul and mind, the form of man was degraded.
"This observation touched the point, then, necessary to be obviated, in order to overcome the primitive rudeness which still attached to sculpture; and without the application of the principle contained in the observation, sculpture and painting too might have stood still for ages. And from what other source than the principles of philosophic study, or, in other words, from reflection on the moral powers or passions of man, their several effects, as produced in their workings on the human figure, could that improvement be obtained? It was the constant employment of the philosophic mind, to study those causes and effects, and to reduce them to a more distinct display for the truth and utility of their own writings. The philosophers were, therefore, the most likely to assist the artist in those displays of character which tended to illustrate the truth of his own works. Nor on this account is it any disparagement to the artists of those days, when philosophic studies were confined to particular classes of men, that this moral view of art was not sufficiently taken up by the more mechanical part of the profession.
"Thus, however, the opening was made to the important expression of character. And the lesson suggested by the philosopher alluded to, is not confined to the Greeks alone. I wish, young gentlemen, to leave it in all its force upon your minds. For if the figures you design, whether singly or in groups, have not their actions correspondent to what their minds appear to be pursuing, they will suit any other subject as well as that in which they are placed. This remark is the more worthy of attention, as it does not apply to any of the figures of the Grecian masters whom I have mentioned. The figure by Phidias on Monte Cavallo at Rome, the Apollo, the Laocoon, the Venus, the Hercules, and the fighting gladiator, are all perfect on the just principles I have mentioned. There is no room for amendment; their propriety is unquestionable; their truth eternal. And so in the works of modern art, we see the same truth and perfection in the Capella Sestina by Michael Angelo, in the Supper by Leonardo da Vinci at Milan, in the Cartoons by Raphael, the St. Peter Martyr by Titian, and the Note by Correggio.
"Having mentioned the figure on Monte Cavallo, representing, as you all know, a young man curbing a horse, I cannot help stopping to remark, that if any work of sculpture ever demonstrated more strongly the value of uniting philosophic science with that of art, for the production of character, it is that work by Phidias. Never did the power of art express more evidently than is done in the head of the young man, that every feature is moved by an internal mental power, and corresponds in the most perfect truth with what we see to be the labouring passion. When we view it in front we are astonished that the mouth does not speak. No observer ever thinks that the head is a block of stone. But the whole group is masterly on the most refined principles of science. It was intended to be seen at an elevated point, as well as at a distant one. All its forms, therefore, are grand without the minutiae of parts; its effects are striking and momentary; and in every circumstance considered, it is plainly the work of consummate genius and science united.
"Was it possible that in an age which gave a Phidias to the Greeks, there should not have been a Pericles to reward, by his patronage, merit so exalted?
"We may carry the same reflections into the progress of the pencil. As the Greeks became refined in their minds, they gained an Apelles to paint, and an Alexander to patronise. We are not enabled now to speak of the works of that great master. His figure of Alexander, in the character of young Ammon, is described as his master-piece. Such was the expression with which the hand grasped the thunder-bolt, that it seemed actually to start from the pannel. The expression and force of character given to the whole, was equally marvellous. And when we consider the refinement to which the human mind had then arrived among the Greeks, the immense value which they put upon the works of that artist, and that they were too wise to devote their applause to things which fell short of consummate excellence, we cannot doubt but it was by the cultivation of the public mind that the arts reached such attainments among them. What must have been their exquisite state when the simple line drawn by Protogenes,--in the consciousness of his acknowledged perfection, and which was intended to announce the man who drew it, as much as if he had told his name,--was so far excelled by another simple line over it by Apelles, that the former at once confessed himself outdone? Those two lines, simple as they were, were by no means trifling in their instruction. They gave us, as it were, an epitome of the progress which the arts had long been making in Greece. For if the drawing of a simple line, of such a master as Protogenes, who was conceived by many to hold the first pencil in the world, was surpassed, to his great surprise, by another, how high must refinement have been raised by the exertions of the artists in a period so emulous of perfection!
"The stages in the progress of modern art, have been frequently distinguished by ages similar to those which succeed one another in the human growth. We may safely assert, that in the infantine and youthful period of modern art, literature and science were only seen in their infancy and growth. The opening of nature displayed in the works of Massaccio; the graces exhibited in those of Lorenzo Ghiberti; and the advancement in perspective made by one or two others, kept pace nearly with that progress in philosophy which appeared in the best writings of those days. As the one took a larger step in the next stage or period, the other stepped forth in a like degree at the same time; so that in Leonardo da Vinci we see the great painter and the great philosopher: his painting most clearly refined in its principles, and enlarged in its powers by his philosophical studies. As a philosopher, and especially in those parts of knowledge which were most interesting to his profession, he laid that foundation of science which has ever since been adopted and admired. As a painter, he not only went far beyond his predecessors, but laid down those principles of science in the expression of individual character, and of a soul and figure specifically and completely appropriated to each other, which opened the way to the greatness acquired by those who followed him in his studies. In that point of excellence, Leonardo da Vinci was original; and it was the natural result of a mind like his, formed to philosophical investigation, and deeply attentive to all the variety of appearances by which the passions are marked in the human countenance and frame. These he traced to their sources: he found them in their radical principles, and by his knowledge of these principles, his expression of character became perfected.
"The nature exhibited by Massaccio had not gone to that extent of expression. It however spoke a soul: he drew forth an inward mind on the outward countenance: he gave a character; but that character was not so discriminated as to become the index of one particular passion more than another; or to decide, for instance, the head of Jupiter from that of a Minerva: so at with the aid, of different types, it should not befit a Saviour or a Magdalene.