THE FINE ARTS.
NO. III.
| ———————— In elegant design, Improving nature: in ideas fair, Or great, extracted from the fine antique; In attitude, expression, airs divine; Her sons of Rome and Florence bore the prize. |
| Thomson. |
The sixteenth century was remarkable for the transcendant excellence of the Italian painters; every city had its school, and each school preserved a different style, distinguished for expression, grace or dignity. By schools, we do not mean academies, for there were none when these great men came forth ennobling nature: they studied in the "academic groves" of the Arno and the Tiber, and were themselves the establishers of those schools, that fettered genius with scholastic rules, and from that day the arts began to decline; each succeeding generation became imitators of the preceding one, and neglecting the study of nature and the poetry of art, they fell into a manerism, growing worse and worse down to their present puerile and meretricious style. And here permit us to correct a very prevalent error, that Italy at this day is distinguished far its living artists, when in fact no country of Europe is so deficient in men eminent in sculpture and painting; but for the present we will confine our remarks to the masters of the sixteenth century and their unrivalled works.
For three centuries the palm of excellence has been awarded to Michael Angelo for originality, to Raphael for correctness of design and expression, to Titian for color, and Correggio for grace; but that in which they all agree is sublimity. "This," says Longinus, "elevates the mind above itself, and fills it with high conceptions and a noble pride." The sources of the sublime he makes to consist of "boldness or grandeur in thought, pathos, expression, and harmony of structure," and these characterize the works of the Italian masters, and place them amongst the epics of the pencil. It is not, as pretended connoisseurs assert, in the high relief, the wonderful foreshortening, the boldness of the touch or fine finish, or even harmony of coloring, that these works claim superior merit, for in all these the Dutch as a school surpass them, but it is "in the grandeur of the thought, in the pathos, expression and harmony of the whole."
Michael Angelo's originality and creative powers surpassed those of all men, and his knowledge of the human figure constituted his praise and his reproach, for in the desire to display his anatomical learning, he overstepped the modesty of nature and exhibited his figures with a muscular developement, disproportioned to the strength required. In the Sistine Chapel, a little child holding the Cybeline book, is represented with the arms of an infant Hercules; and in his holy family at Florence, naked men are seen in the back ground at gymnastic exercises, having no connection with, or reference to the modesty of the subject; the execution of this picture is hard and the color opaque. Well might he exclaim after finishing it, "Oil painting is unworthy of men, I leave it to boys." Raphael was the boy against whom this sarcasm was hurled, whose works in oil will long survive his frescos, and who freed from envy—that passion of little minds—"thanked his maker that he had lived in the days of Michael Angelo." But the Last Judgment is the work on which M. Angelo's reputation rests as a painter; it was the last he ever executed, and is strongly impressed with the peculiar character of its author, originality and vigor of thought, with incongruity of persons and place. The son of man appears in wrath to take vengeance on his enemies, and with an uplifted hand and frowning brows, seems to say "depart, ye cursed into everlasting punishment," and they are tumbling headlong down in every conceivable attitude; on the other hand the righteous are rising to eternal life, in groups of a masterly design, executed with such strength and simplicity as to convey the most sublime ideas of the subject; but the improper mixture of mythological fable and Christian faith detract much from its merit, and we are scarcely less disgusted with Charon ferrying his boat in hell, than with the angels playing with the cross in heaven; they are equally out of keeping, and the whole scene is deficient in drapery—even the blessed being stands exposed in the nudity of this frail tenement.
The work most justly to be brought in comparison with this, is the Transfiguration by Raphael. The subject is equally sublime, and composed with equal simplicity. The whole scene rises before you with such propriety of expression in every countenance, that it requires no interpreter to know them; no trifling ornament diverts the attention from the subject, and no idle levity detracts from the solemnity of the occasion. Human infirmity is brought in strong contrast with omnipotent power, and the mind is led by a natural gradation from our dependance up to his goodness. An epileptic boy of interesting age is supported in the arms of his father, and surrounded with friends and relations, who bring him to the disciples to be healed, and the imploring mother, the beautiful countenance of the sister, the anxious parent and suffering boy, excite our sympathy, and we look to the apostles for their miraculous power of healing, but their faith had failed them; sweet charity remained, and
"Hope the comforter lingered yet below,"
as they point to the mount "from whence their help cometh." Following the direction we behold the prostrate three, Peter, James and John, veiling their faces in the ineffable presence; above, self-poised in mid air and bright in the radiance of supernatural light, the "son of man" is seen between Moses and Elias. It has been objected that there are two subjects here in one picture, but they are so closely allied in the history of the event, and simultaneous in time, that to separate them would be to destroy the effect and interest of both; nothing could be omitted without detracting from its merit, and nothing added without impairing its grandeur; with the exception of two men ascending the mount in sacerdotal robes, doubtless introduced against the wish of the artist, to gratify some officious patron.
These two paintings may represent the schools of Rome and Florence, and are justly esteemed the sublimest style of art. The former in fresco, the latter in oil, and both unattractive by the beauty of coloring or the magic of effect, but sublime in thought, expression and design. In presenting these to the admiration of the amateur and the study of the artist, we would not limit excellence to any one manner, but on the contrary, reprehend those who see no beauty save in a smoked antique, or in a modern English portrait, in the boldness of Salvator Rosa or the finish of Carlo Dolci. These may be all beautiful in their kind and have equal claims to admiration, though inferior in sublimity of design.