And yet, whether this be uglier or prettier than Gainsborough's child—(and you know already what I think about it, that no Greek goddess was ever half so pretty as an English girl, of pure clay and temper,)—uglier or prettier, it is more dignified and impressive. It at least belongs to the domain of a lordlier, more majestic, more guiding and ordaining art.
146. I will go back another five hundred years, and place an Egyptian beside the Greek divinity. The resemblance to Nature is now all but lost, the ruling law has become all. The lines are reduced to an easily counted number, and their arrangement is little more than a decorative sequence of pleasant curves cut in porphyry,—in the upper part of their contour following the outline of a woman's face in profile, over-crested by that of a hawk, on a kind of pedestal. But that the sign-engraver meant by his hawk, Immortality, and by her pedestal, the House or Tavern of Truth, is of little importance now to the passing traveler, not yet preparing to take the sarcophagus for his place of rest.
147. How many questions are suggested to us by these transitions! Is beauty contrary to law, and grace attainable only through license? What we gain in language, shall we lose in thought? and in what we add of labor, more and more forget its ends?
Not so.
Look at this piece of Sandro's work, the Libyan Sibyl.[AH]
It is as ordered and normal as the Egyptian's—as graceful and facile as Gainsborough's. It retains the majesty of old religion; it is invested with the joy of newly awakened childhood.
Mind, I do not expect you—do not wish you—to enjoy Botticelli's dark engraving as much as Gainsborough's aerial sketch; for due comparison of the men, painting should be put beside painting. But there is enough even in this copy of the Florentine plate to show you the junction of the two powers in it—of prophecy, and delight.
148. Will these two powers, do you suppose, be united in the same manner in the contemporary Northern art? That Northern school is my subject to-day; and yet I give you, as type of the intermediate condition between Egypt and England—not Holbein, but Botticelli. I am obliged to do this; because in the Southern art, the religious temper remains unconquered by the doctrines of the Reformation. Botticelli was—what Luther wished to be, but could not be—a reformer still believing in the Church: his mind is at peace; and his art, therefore, can pursue the delight of beauty, and yet remain prophetic. But it was far otherwise in Germany. There the Reformation of manners became the destruction of faith; and art therefore, not a prophecy, but a protest. It is the chief work of the greatest Protestant who ever lived,[AI] which I ask you to study with me to-day.
149. I said that the power of engraving had developed itself during the introduction of three new—(practically and vitally new, that is to say)—elements, into the minds of men: elements which briefly may be expressed thus:
- Classicism, and Literary Science.
- Medicine, and Physical Science.[AJ]
- Reformation, and Religious Science.