IV. CHARACTERIZATION.
It may be safely affirmed that there is scarcely a picture in existence in which the individualities are more strongly marked by internal essential characteristics.
Above, there is no figure to be mistaken: Christ floats toward the source of light—the Invisible Father, by whom all is made visible that is visible. On the right, Moses appears in strong contrast to Elias on the left—the former the law-giver, and the latter the spontaneous, fiery, eagle-eyed prophet.
On the mountain top—prostrate beneath, are the three disciples—one recognizes on the right hand, John, gracefully bending his face down from the overpowering light, while on the left James buries his face in his humility. But Peter, the bold one, is fain to gaze directly on the splendor. He turns his face up in the act, but is, as on another occasion, mistaken in his estimate of his own endurance, and is obliged to cover his eyes, involuntarily, with his hand.
Below the mount, are two opposed groups. On the right, coming from the hamlet in the distance, is the family group, of which a demoniac boy forms the centre. They, without doubt, saw Christ pass on his way to this solitude, and, at length, concluded to follow him and test his might which had been “noised abroad” in that region. It is easy to see the relationship of the whole group. First the boy, actually “possessed,” or a maniac; then his father—a man evidently predisposed to insanity—supporting and restraining him. Kneeling at the right of the boy is his mother, whose fair Grecian face has become haggard with the trials she has endured from her son. Just beyond her is her brother, and in the shade of the mountain, is her father. In the foreground is her sister. Back of the father, to the right, is seen an uncle (on the father’s side) of the demoniac boy, whose features and gestures show him to be a simpleton, and near him is seen the face of the father’s sister, also a weak-minded person. The parents of the father are not to be seen, for the obvious reason that old age is not a characteristic of persons predisposed to insanity. Again, it is marked that in a family thus predisposed, some will be brilliant to a degree resembling genius, and others will be simpletons. The whole group at the right are supplicating the nine disciples, in the most earnest manner, for relief. The disciples, grouped on the left, are full of sympathy, but their looks tell plainly that they can do nothing. One, at the left and near the front, holds the books of the Law in his right hand, but the letter needs the spirit to give life, and the mere Law of Moses does not help the demoniac, and only excites the sorrowful indignation of the beautiful sister in the foreground.
The curious student of the New Testament may succeed in identifying the different disciples: Andrew, holding the books of the Law, is Peter’s brother, and bears a family resemblance. Judas, at the extreme left, cannot be mistaken. Matthew looks over the shoulder of Bartholomew, who is pointing to the demoniac; while Thomas—distinguished by his youthful appearance—bends over toward the boy with a look of intense interest. Simon (?), kneeling between Thomas and Bartholomew, is indicating to the mother, by the gesture with his left hand, the absence of the Master. Philip, whose face is turned towards Judas, is pointing to the scene on the mount, and apparently suggesting the propriety of going for the absent one. James, the son of Alpheus, resembles Christ in features, and stands behind Jude, his brother, who points up to the mount while looking at the father.
V. ORGANIC UNITY.
(a) Doubtless every true work of art should have what is called an “organic unity.” That is to say, all the parts of the work should be related to each other in such a way that a harmony of design arises. Two entirely unrelated things brought into the piece would form two centres of attraction and hence divide the work into two different works. It should be so constituted that the study of one part leads to all the other parts as being necessarily implied in it. This common life of the whole work is the central idea which necessitates all the parts, and hence makes the work an organism instead of a mere conglomerate or mechanical aggregate,—a fortuitous concourse of atoms which would make a chaos only.
(b) This central idea, however, cannot be represented in a work of art without contrasts, and hence there must be antitheses present.
(c) And these antitheses must be again reduced to unity by the manifest dependence of each side upon the central idea.