The method of this artist was to suppress all the coarser beauties which make up the substance of common pictures. He was the least ad captandum of workers. He avoided bright eyes, curls, and contours, glancing lights, strong contrasts, and colors too crude for harmony. He reduced his beauty to her elements, so that an inner beauty might play through her features. Like the Catholic discipline which pales the face of the novice with vigils, seclusion, and fasting, and thus makes room and clears the way for the movements of the spirit, so in these figures every vulgar grace is suppressed. No classic contours, no languishing attitudes, no asking for admiration,—but a severe and chaste restraint, a modest sweetness, a slumbering intellectual atmosphere, a graceful self-possession, eyes so sincere and pure that heaven's light shines through them, and, beyond all, a hovering spiritual life that makes each form a presence.
Perhaps the two most remarkable and original of the pieces I have named above are the "Beatrice" and the "Rosalie." Of the "Beatrice" there has been much discussion whether she could have been intended to represent the Beatrice of Dante. To me it appears that there is nothing like that world- and heaven-renowned lady in this our Beatrice. She sits alone: one sees that in the expression of her eyes. Her dress is of almost conventual simplicity; the colors rich, but sober; the style flowing and mediæval. She has soft brown hair; soft, velvet-soft, brown eyes; features not salient, but rounded into the contours of the head; her whole expression receptive, yet radiant with sentiment. The complexion of a tender rose, equally diffused, gives an indescribable air of healthful delicacy to the face. The expression of the whole figure is that of one in a very dream of sentiment. Her twilight eyes see without effort into the very soul of things, as other eyes look at their surfaces. The sentiment of this figure is so powerful that by its gentle charm it fastens the beholder, who gazes and cannot withdraw his eyes, wondering what is the spell that can so hold him to that face, which is hardly beautiful, surely without surface beauty. I once heard a person who was unaccustomed to the use of critical terms say of these creations of Allston, "Here is beauty, but not the beauty that glares on you"; and this phrase, so odd, but so original, well describes the beauty of this Beatrice, who, though now transfigured by sentiment and capable of being a home-goddess, does not seem intended to shine in starry circles.
But for the beauty of execution in this picture, it is unsurpassed. It is in this respect like the most beautiful things ever painted by Raphael,—like the Madonna del Cardellino, whose face has light within, "luce di dentro," as is the expressive Italian phrase,—and is also like another picture that I have seen, attributed to Raphael, in the collection of the late Baron Kestner at Rome.
Visiting the extremely curious and valuable gallery of this gentleman, the Hanoverian Minister at Rome, after making us begin at the beginning, among the very early masters, he led us on with courteous determination through his specimens of all the schools, and made us observe the characteristics of each school and each master, till at last we rested in the last room, where hung a single picture covered with a silken curtain. This at last, with sacred and reverent ceremony, was drawn aside, and revealed a portrait by Raphael,—the portrait of a lady, young and beautiful, and glowing with a tender sentiment which recalled to my remembrance these heads by Allston, not alone in the sentiment, but in the masterly beauty of the painting. M. Kestner told us he supposed the picture to be a portrait of that niece of Cardinal Bibbiena to whom Raphael was betrothed. The picture had come into his possession by one of those wonderful chances which have preserved so many valuable works from destruction. At a sale of pictures at Bologna, he told us he noticed a very ordinary head, badly enough painted, but with very beautiful hands,—hands which betrayed the work of a master; and he conjectured this to be some valuable picture, hastily covered with coarse work to deceive the emissaries of a conqueror when they came to select and carry off the most valuable pictures from the galleries of the conquered city. He gave his agent orders to purchase it, and when in his possession a little careful work removed the upper colors and discovered one of the most beautiful heads ever painted even by Raphael. Though it may and will seem extravagant, I am satisfied that there are several heads by Allston that would lose nothing by comparison with this admirable work. Indeed, though M. Kestner's picture is a portrait, it is a work so entirely in the same class with the "Beatrice," the "Rosalie," the "Valentine," and some other works of Allston, in sentiment and execution, that the comparison is fairly challenged.
"Rosalie" is different from "Beatrice." She seems listening to music; and so the little poem written by the author, and recited by him when showing the picture newly finished to his friends, describes her. The face indicates, not a dream of sentiment, like that of "Beatrice," but rather a rapture. She is "caught on a higher strain." She is a creature as passionate as tender; more like Juliet than like Miranda; fit to be the love of a poet, and to reward his song with the overflowing cup of love. In this figure also beauty melts into feeling. The composition of color is masterly; in the draperies it is inlaid in opposing fields, by which means the key of the whole is raised, and the rising rapture of expression powerfully seconded. Did I not fear to insist too much on what may be only a private fancy, I should say that these colors reverberate like some rich orchestral strain of music.
"The Roman Lady reading." This Roman lady might be the mother of the Gracchi, so stately and of so grand a style is she. But she is a modern, for she reads from a book. She might be Vittoria Colonna, the loved of Michel Angelo, so grave, so dignified is her aspect. The whole figure is reading. A vital intelligence seems to pass from the eyes to the book. Nothing tender in this woman, who, if a Roman, takes life after the "high Roman fashion." The beauty and perfect representation of the hands should be noticed here, as well as in the "Rosalie" and "Beatrice."
"Triumphal Song of Miriam on the Destruction of Pharaoh and his Hosts in the Red Sea." This is a three-quarter length figure. She stands singing, with one hand holding the timbrel, the other thrown aloft, the whole form up-borne by the swelling triumphal song. I hardly know what it is in this picture which takes one back so far into the world's early days. The figure is neither antique nor modern; the face is not entirely of the Hebrew type, but the tossing exultation seems so truly to carry off the wild thrill of joy when a people is released from bondage, that it is almost unnecessary to put the words into her mouth,—"Sing ye to the Lord, for He hath triumphed gloriously; the horse and his rider hath He thrown into the sea." This figure is dramatically imaginative. In looking at it, one feels called on to sing triumphal songs with Miriam, and not to stand idly looking. The magnetism of the artist at the moment of conception powerfully seizes on the beholder.
"The Valentine" is described by William Ware[A] as follows.
"For the 'Valentine' I may say, though to some it may seem an extravagance, I have never been able to invent the terms that would sufficiently express my admiration of that picture,—I mean, of its color; though as a whole it is admirable for its composition, for the fewness of the objects admitted, for the simplicity and naturalness of the arrangement. But the charm is in the color of the flesh, of the head, of the two hands. The subject is a young woman reading a letter, holding the open letter with both the hands. The art can go no further, nor as I believe has it ever gone any further. Some pigments or artifices were unfortunately used, which have caused the surface to crack, and which require the picture now to be looked at at a further remove than the work on its own account needs or requires; it even demands a nearer approach, in order to be well seen, than these cracks will permit. But these accidental blemishes do not materially interfere with the appreciation and enjoyment of the picture. It has what I conceive to be that most rare merit,—it has the same universal hue of nature and truth in both the shadows and the lights which Nature has, but Art almost never, and which is the great cross to the artist. The great defect and the great difficulty, in imitating the hues of flesh, lies in the shadows and the half-shadows. You will often observe in otherwise excellent works of the most admirable masters, that, the moment their pencil passes to the shadows of the flesh, especially the half-shadows, truth, though not always a certain beauty, forsakes them. The shadows are true in their degree of dark, but false in tone and hue. They are true shadows, but not true flesh. You see the form of a face, neck, arm, hand in shadow, but not flesh in shade; and were that portion of the form sundered from its connection with the body, it could never be told, by its color alone, what it was designed to be. Allston's wonderful merit is, (and it was Titian's,) that the hue of life and flesh is the same in the shadow as in the light. It is not only shadow or dark, but it is flesh in shadow. The shadows of most artists, even very distinguished ones, are green, or brown, or black, or lead color, and have some strong and decided tint other than that of flesh. The difficulty with most seems to have been so insuperable, that they cut the knot at a single blow, and surrendered the shadows of the flesh, as an impossibility, to green or brown or black. And in the general imitation of the flesh tints the greatest artists have apparently abandoned the task in despair, and contented themselves with a correct utterance of form and expression, with well-harmonized darks and lights, with little attention to the hues of Nature. Such was Caravaggio always, and Guercino often, and all their respective followers. Such was Michel Angelo, and often Raffaelle,—though at other times the color of Raffaelle is not inferior in truth and glory to Titian, greatest of the Venetian colorists: as in his portraits of Leo X., Julius, and some parts of his frescos. But for the most part, though he had the genius for everything, for color as well as form, yet one may conjecture he found color in its greatest excellence too laborious for the careful elaboration which can alone produce great results, too costly of time and toil, the sacrifice too great of the greater to the less. Allston was apparently never weary of the labor which would add one more tint of truth to the color of a head or a hand, or even of any object of still life, that entered into any of his compositions. Any eye that looks can see that it was a most laborious and difficult process by which he secured his results,—by no superficial wash of glaring pigments, as in the color of Rubens, whose carnations look as if he had finished the forms at once, the lights and the darks in solid opaque colors, and then with a free, broad brush or sponge washed in the carmine, lake, and vermilion, to confer the requisite amount of red,—but, on the contrary, wrought out in solid color from beginning to end, by a painful and sagacious formation, on the palette, of the very tint by which the effect, the lights, shadows, and half-shadows, and the thousand almost imperceptible gradations of hue which bind together the principal masses of light and shade, was to be produced."
Here Mr. Ware undoubtedly errs in attributing the success of Allston's flesh tints to the use of solid color alone. Such effects are not possible without the aid of transparent colors in glazing; but it is the judicious combination of solid with transparent pigments, combined not bodily on the palette, but in their use on the canvas, that gives to oil-painting all its unrivalled power in the hands of a master. Allston was accustomed to inlay his pictures in solid crude color with a medium that hardened like stone, and to leave them months and even years to dry before finishing them with the glazing colors, which worked in his hands like magic over such a well-hardened surface. By this method of working he was able to secure solidity of appearance, richness of color, unity of effect, and atmospheric repose and tenderness enveloping all objects in the picture. Many of his unfinished works are left in the first stage of this process, showing precisely how far he relied on the use of solid color; and by comparing the works left in this state with his finished pictures, one may see how much he was indebted to the use of transparent glazes for the beauty, tenderness, and variety of color in the last stages of his work.