Alp Climbing
There is probably no pleasure equal to the pleasure of climbing a dangerous Alp; but it is a pleasure which is confined strictly to people who can find pleasure in it. I have not jumped to this conclusion; I have traveled to it per gravel train, so to speak. I have thought the whole thing out, and am quite sure I am right. A born climber’s appetite for climbing is hard to satisfy; when it comes upon him he is like a starving man with a feast before him; he may have other business on hand, but it must wait. Mr. Girdlestone had had his usual summer holiday in the Alps, and had spent it in the usual way, hunting for unique chances to break his neck; his vacation was over, and his luggage packed for England, but all of a sudden a hunger had come upon him to climb the tremendous Weisshorn once more, for he had heard of a new and utterly impossible route up it. His baggage was unpacked at once, and now he and a friend, laden with knapsacks, ice-axes, coils of rope, and canteens of milk, were just setting out. They would spend the night high up among the snows, somewhere, and get up at two in the morning and finish the enterprise. I had a strong desire to go with them, but forced it down—a feat which Mr. Girdlestone, with all his fortitude, could not do.
The Old Masters
We visited the picture galleries and the other regulation “sights” of Milan—not because I wanted to write about them again, but to see if I had learned anything in twelve years. I afterwards visited the great galleries of Rome and Florence for the same purpose. I found I had learned one thing. When I wrote about the Old Masters before, I said the copies were better than the originals. That was a mistake of large dimensions. The Old Masters were still unpleasing to me, but they were truly divine contrasted with the copies. The copy is to the original as the pallid, smart, inane new waxwork group is to the vigorous, earnest, dignified group of living men and women whom it professes to duplicate. There is a mellow richness, a subdued color, in the old pictures, which is to the eye what muffled and mellowed sound is to the ear. That is the merit which is most loudly praised in the old picture, and is the one which the copy most conspicuously lacks, and which the copyist must not hope to compass. It was generally conceded by the artists with whom I talked, that that subdued splendor, that mellow richness, is imparted to the picture by age. Then why should we worship the Old Master for it, who didn’t impart it, instead of worshiping Old Time, who did? Perhaps the picture was a clanging bell, until time muffled it and sweetened it.
In conversation with an artist in Venice, I asked,
“What is it that people see in Old Masters? I have been in the Doge’s palace and I saw several acres of very bad drawing, very bad perspective, and very incorrect proportions. Paul Veronese’s dogs do not resemble dogs; all the horses look like bladders on legs; one man had a right leg on the left side of his body; in the large picture where the Emperor (Barbarossa?) is prostrate before the Pope, there are three men in the foreground who are over thirty feet high, if one may judge by the size of a kneeling little boy in the center of the foreground; and according to the same scale, the Pope is 7 feet high and the Doge is a shriveled dwarf of 4 feet.”
The artist said:
“Yes, the Old Masters often drew badly; they did not care much for truth and exactness in minor details; but after all, in spite of bad drawing, bad perspective, bad proportions, and a choice of subjects which no longer appeal to people as strongly as they did three hundred years ago, there is a something about their pictures which is divine—a something which is above and beyond the art of any epoch since—a something which would be the despair of artists but that they never hope or expect to attain it, and therefore do not worry about it.”
That is what he said—and he said what he believed; and not only believed, but felt.
Reasoning—especially reasoning without technical knowledge—must be put aside, in cases of this kind. It cannot assist the inquirer. It will lead him, in the most logical progression, to what, in the eyes of the artists, would be a most illogical conclusion. Thus: bad drawing, bad proportions, bad perspective, indifference to truthful detail, color which gets its merit from time, and not from the artist—these things constitute the Old Master; conclusion, the Old Master was a bad painter, the Old Master was not an Old Master at all, but an Old Apprentice. Your friend the artist will grant your premises, but deny your conclusion; he will maintain that notwithstanding this formidable list of confessed defects, there is still a something that is divine and unapproachable about the Old Master, and that there is no arguing the fact away by any system of reasoning whatever.