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The difference in the accuracy of the lines of the Torso of the Vatican (the Maestro of M. Angelo) froin those in one of M. Angelo's finest works, could perhaps scarcely be appreciated by any eye or feeling undisciplined by the most perfect and practical anatomical knowledge. It rests on points of such traceless and refined delicacy, that though we feel them in the result, we cannot follow them in the details. Yet they are such and so great as to place the Torso alone in art, solitary and supreme; while the finest of M. Angelo's works, considered with respect to truth alone, are said to be only on a level with antiques of the second class, under the Apollo and Venus, that is, two classes or grades below the Torso. But suppose the best sculptor in the world, possessing the most entire appreciation of the excellence of the Torso, were to sit down, pen in hand, to try and tell us wherein the peculiar truth of each line consisted ? Could any words that he could use make us feel the hairbreadth of depth and distance on which all depends ? or end in anything more than bare assertions of the inferiority of this line to that, which, if we did not perceive for ourselves, no explanation could ever illustrate to us? He might as well endeavor to explain to us by words some taste or other subject of sense, of which we had no experience. And so it is with all truths of the highest order; they are separated from those of average precision by points of extreme delicacy, which none but the cultivated eye can in the least feel, and to express which, all words are absolutely meaningless and useless. So far as the sight and knowledge of the human form, of the purest race, exercised from infancy constantly, but not excessively, in all exercises of dignity, not in twists and straining dexterities, but in natural exercises of running, casting, or riding; practised in endurance, not of extraordinary hardship, for that hardens and degrades the body, but of natural hardship, vicissitudes of

winter and summer, and cold and heat, yet in a climate where none of these are severe; surrounded also by a certain degree of right luxury, so as to soften and refine the forms of strength; so far as the sight of this could render the mental intelligence of what is right in human form so acute as to be able to abstract and combine from the best examples so produced, that which was most perfect in each, so far the Greek con ceived and attained the ideal of bodily form.

Form we find abstractedly considered by the sculptor; how far it would be possible to advantage a statue by the addition of color, I venture not to affirm; the question is too extensive to be here discussed. High authorities and ancient practice, are in favor of color; so the sculpture of the middle ages: the two statues of Mino da Fiesole in the church of Sta. Caterina at Pisa have been colored, the irises of the eyes painted dark, and the hair gilded, as also I think the Madonna in Sta. Maria della Spina; the eyes have been painted in the sculptures of Orcagna in Or San Michele, but it looks like a remnant of barbarism, (compare the pulpit of Guida da Como, in the church of San Bartolomeo at Pistoja,) and I have never seen color on any solid forms, that did not, to my mind, neutralize all other power; the porcelains of Luca della Robbia are painful examples, and in lower art, Florentine mosaic in relief; gilding is more admissible, and tells sometimes sweetly upon figures of quaint design, as on the pulpit of Sta. Maria Novella, while it spoils the classical ornaments of the mouldings. But the truest grandeur of sculpture I believe to be in the white form.

It was said by Michael Angelo that “non ha l'ottimo scul. tore alcun concetto, Ch’un marmo solo in se non circoscriva," a sentence which, though in the immediate sense intended by the writer it may remind us a little of the indignation of Boi. leau's Pluto, “ Il s'ensuit de la que tout ce qui se peut dire de beau, est dans les dictionnaires, il n'y a que les paroles qui sont transposées,” yet is valuable, because it shows us that Michael Angelo held the imagination to be entirely expressible in rock, and therefore altogether independent, in its own nature, of those aids of color and shade by which it is recommended in Tintoret, though the sphere of its operation is of course by these incalculably extended. But the presence of the imagination may be rendered in marble as deep, thrilling, and awful as in painting, so that the sculptor seek for the soul and govern the body thereby.

Of unimaginative work, Bandinelli and Canova supply us with characteristic instances of every kind, the Hercules and Cacus of the former, and its criticism by Cellini, will occur at once to every one; the disgusting statne now placed so as to conceal Giotto's important tempera picture in Santa Croce is a better instance, but a still more important lesson might be received by comparing the inanity of Canova's garland grace, and ball-room sentiment with the intense truth, tenderness, and power of men like Mino da Fiesole, whose chisel leaves many a hard edge, and despises down and dimple, but it seems to cut light and carve breath, the marble burns beneath it, and becomes transparent with very spirit. Yet Mino stopped at the human nature; he saw the soul, but not the ghostly presences about it; it was reserved for Michael Angelo to pierce deeper yet, and to see the îndwelling angels. No man's soul is alone: Laocoon or Tobit, the serpent has it by the heart or the angel by the hand, the light or the fear of the spiritual things that move beside it may be seen on the body; and that bodily form with Buonaroti, white, solid, distinct material, though it be, is invariably felt as the instrument or the habitation of some infinite, invisible power. The earth of the Sistine Adam that begins to burn; the woman embodied burst of adoration from his sleep; the twelve great torrents of the Spirit of God that pause above us there, urned in their vessels of clay; the waiting in the shadow of futurity of those through whom the promise and presence of God went down from the Eve to the Mary, each still and fixed, fixed in his expectation, silent, foreseeing, faithful, seated each on his stony throne, the building stones of the word of God, building on and on, tier by tier, to the Refused one, the head of the corner; not only these, not only the troops of terror torn up from the earth by the four quartered winds of the Judgment, but every fragment and atom of stone though compelled to represent the Sinai under conventional form, in order that the receiving of the tables might be seen at the top of it, yet so soon as it is possible to give more truth, he is ready with it; he takes a grand fold of horizontal cloud straight from the flanks of the Alps, and shows the forests of the mountains through its misty volume, like sea-weed through deep sea. Nevertheless when the realization is impossible, bold symbolism is of the highest value, and in religious art, as we shall presently see, even necessary, as of the rays of light in the Titian woodcut of St. Francis before noticed; and sometimes the attention is directed by some such strange form to the meaning of the image, which may be missed if it remains in its natural purity, (as, I suppose, few in looking at the Cephalus and Procris of Turner, note the sympathy of those faint rays that are just drawing back and dying between the trunks of the far-off forest, with the ebbing life of the nymph; unless, indeed, they happen to recollect the same sympathy marked by Shelley in the Alastor;) but the imagination is not shown in any such modifications; however, in some cases they may be valuable in the Cephalus they would be utterly destructive), and I note them merely in consequence of their peculiar use in religious art, presently to be examined.


The last mode we have here to note, in which the imagina. tion regardant may be expressed in art is exaggeration, of which, as it is the vice of all bad artists, and may be constantly resorted to without any warrant of imagination, it is necessary to note strictly the admissible limits.

By comparing the disgusting convulsions of the Laocoon, with the Elgin Theseus, we may obtain a general idea of the effect of the influence, as shown by its absence in one, and presence in the other, of two works which, as far as artistical merit is concerned, are in some measure parallel, not that I believe, even in this respect, the Laocoon justifiably comparable with the Theseus. I suppose that no group has exercised so pernicious an influence on art as this, a subject ill chosen, meanly conceived and unnaturally treated, recommended to imitation by subtleties of execution and accumulation of technical knowledge.

I would also have the reader compare with the meagre lines and contemptible tortures of the Laocoon, the awfulness and quietness of M. Angelo's treatment of a subject in most respects similar, (the plague of the Fiery Serpents,) but of which the choice was justified both by the place which the event holds in the typical system he had to arrange, and by the grandeur of the plague itself, in its multitudinous grasp, and its mystical salvation; sources of sublimity entirely wanting to the slaughter of the Dardan priest. It is good to see how his gigantic intellect reaches after repose, and truthfully finds it, in the falling hand of the near figure, and in the deathful decline of that whose hands are held up even in their venomed coldness to the cross; and though irrelevant to our present purpose, it is well also to note how the grandeur of this treatment results, not merely from choice, but from a greater knowledge and more faithful rendering of truth. For whatever knowledge of the human frame there may be in the Laocoon, there is certainly none of

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