-- 21. Conclusion.

It is vain to attempt to pursue the comparison; the two orders of art have in them nothing common, and the field of sacred history, the intent and scope of Christian feeling, are too wide and exalted to admit of the juxtaposition of any other sphere or order of conception; they embrace all other fields like the dome of heaven. With what comparison shall we compare the types of the martyr saints, the St. Stephen of Fra Bartolomeo, with his calm forehead crowned by the stony diadem, or the St. Catherine of Raffaelle looking up to heaven in the dawn of the eternal day, with her lips parted in the resting from her pain? or with what the Madonnas of Francia and Pinturicchio, in whom the hues of the morning and the solemnity of the eve, the gladness in accomplished promise, and sorrow of the sword-pierced heart, are gathered into one human lamp of ineffable love? or with what the angel choirs of Angelico, with the flames on their white foreheads waving brighter as they move, and the sparkles streaming from their purple wings like the glitter of many suns upon a sounding sea, listening, in the pauses of alternate song, for the prolonging of the trumpet blast, and the answering of psaltery and cymbal, throughout the endless deep and from all the star sh.o.r.es of heaven?

FOOTNOTES

[75] I take no note of the representation of evil spirits, since throughout we have been occupied in the pursuit of beauty; but it may be observed generally that there is great difficulty to be overcome in attempts of this kind, because the elevation of the form necessary to give it spirituality destroys the appearance of evil; hence even the greatest painters have been reduced to receive aid from the fancy, and to eke out all they could conceive of malignity by help of horns, hoofs, and claws. Giotto's Satan in the Campo Santo, with the serpent gnawing the heart, is fine; so many of the fiends of Orcagna, and always those of Michael Angelo. Tintoret in the Temptation, with his usual truth of invention, has represented the evil spirit under the form of a fair angel, the wings burning with crimson and silver, the face sensual and treacherous. It is instructive to compare the results of imagination a.s.sociated with powerful fancy in the demons of these great painters, or even in such nightmares as that of Salvator already spoken of, Sect. I.

Chap. V. -- 12 (note,) with the simple ugliness of idiotic distortion in the meaningless terrorless monsters of Bronzino in the large picture of the Uffizii, where the painter, utterly uninventive, having a.s.sembled all that is abominable of hanging flesh, bony limbs, crane necks, staring eyes, and straggling hair, cannot yet by the sum and substance of all obtain as much real fearfulness as an imaginative painter could throw into the turn of a lip or the knitting of a brow.

[76] I have not thought it necessary to give farther instances at present, since I purpose hereafter to give numerous examples of this kind of ideal landscape. Of true and n.o.ble landscape, as such, I am aware of no instances except where least they might have been expected, among the sea-bred Venetians. Ghirlandajo shows keen, though prosaic, sense of nature in that view of Venice behind an Adoration of Magi in the Uffizii, but he at last walled himself up among gilded entablatures. Masaccio indeed has given one grand example in the fresco of the Tribute Money, but its color is now nearly lost.

[77] I know not anything in the range of art more unspiritual than the Apollo Belvidere; the raising of the fingers of the right hand in surprise at the truth of the arrow is altogether human, and would be vulgar in a prince, much more in a deity. The sandals destroy the divinity of the foot, and the lip is curled with mortal pa.s.sion.

ADDENDA.

Although the plan of the present portion of this work does not admit of particular criticism, it will neither be useless nor irrelevant to refer to one or two works, lately before the public, in the Exhibitions of the Royal Academy, which either ill.u.s.trate, or present exceptions to, any of the preceding statements. I would first mention, with reference to what has been advanced respecting the functions of a.s.sociative Imagination, the very important work of Mr. Linnell, the "Eve of the Deluge;" a picture upheld by its admirers (and these were some of the most intelligent judges of the day) for a work of consummate imaginative power; while it was p.r.o.nounced by the public journals to be "a chaos of unconcocted color." If the writers for the press had been aware of the kind of study pursued by Mr. Linnell through many laborious years, characterized by an observance of nature scrupulously and minutely patient, directed by the deepest sensibility, and aided by a power of drawing almost too refined for landscape subjects, and only to be understood by reference to his engravings after Michael Angelo, they would have felt it to be unlikely that the work of such a man should be entirely undeserving of respect. On the other hand, the grounds of its praise were unfortunately chosen; for, though possessing many merits, it had no claim whatever to be ranked among productions of Creative art. It would perhaps be difficult to point to a work so exalted in feeling, and so deficient in invention. The sky had been strictly taken from nature, this was evident at a glance; and as a study of sky it was every way n.o.ble. To the purpose of the picture it hardly contributed; its sublimity was that of splendor, not of terror; and its darkness that of retreating, not of gathering, storm. The features of the landscape were devoid alike of variety and probability; the division of the scene by the central valley and winding river at once theatrical and commonplace; and the foreground, on which the light was intense, alike devoid of dignity in arrangement, and of interest in detail.

The falseness or deficiency of color in the works of Mr. Landseer has been remarked above. The writer has much pleasure in noticing a very beautiful exception in the picture of the "Random Shot," certainly the most successful rendering he has ever seen of the hue of snow under warm but subdued light. The subtlety of gradation from the portions of the wreath fully illumined, to those which, feebly tinged by the horizontal rays, swelled into a dome of dim purple, dark against the green evening sky; the truth of the blue shadows, with which this dome was barred, and the depth of delicate color out of which the lights upon the footprints were raised, deserved the most earnest and serious admiration; proving, at the same time, that the errors in color, so frequently to be regretted in the works of the painter, are the result rather of inattention than of feeble perception. A curious proof of this inattention occurs in the disposition of the shadows in the background of the "Old Cover Hack," No. 229. One of its points of light is on the rusty iron handle of a pump, in the shape of an S. The sun strikes the greater part of its length, illuminating the perpendicular portion of the curve; yet shadow is only cast on the wall behind by the returning portion of the lower extremity. A smile may be excited by the notice of so trivial a circ.u.mstance; but the simplicity of the error renders it the more remarkable, and the great masters of chiaroscuro are accurate in all such minor points; a vague sense of greater truth results from this correctness, even when it is not in particulars a.n.a.lyzed or noted by the observer. In the small but very valuable Paul Potter in Lord Westminster's collection, the body of one of the sheep under the hedge is for the most part in shadow, but the sunlight touches the extremity of the back. The sun is low, and the shadows feeble and distorted; yet that of the sunlighted fleece is cast exactly in its true place and proportion beyond that of the hedge. The spectator may not observe this; yet, un.o.bserved, it is one of the circ.u.mstances which make him feel the picture to be full of sunshine.

As an example of perfect color, and of the most refined handling ever perhaps exhibited in animal painting, the Butcher's Dog in the corner of Mr. Mulready's "b.u.t.t," No. 160, deserved a whole room of the Academy to himself. This, with the spaniel in the "Choosing the Wedding Gown," and the two dogs in the hayfield subject (Burch.e.l.l and Sophia), displays perhaps the most wonderful, because the most dignified, finish in the expression of anatomy and covering--of muscle and hide at once, and a.s.suredly the most perfect unity of drawing and color, which the entire range of ancient and modern art can exhibit. Albert Durer is indeed the only rival who might be suggested; and, though greater far in imagination, and equal in draughtsmanship, Albert Durer was less true and less delicate in hue. In sculpturesque arrangement both masters show the same degree of feeling: any of these dogs of Mulready might be taken out of the canvas and cut in alabaster, or, perhaps better, struck upon a coin. Every lock and line of the hair has been grouped as it is on a Greek die; and if this not always without some loss of ease and of action, yet this very loss is enn.o.bling, in a period when all is generally sacrificed to the great c.o.xcombry of art, the affectation of ease.

Yet Mr. Mulready himself is not always free from affectation of some kind; mannerism, at least, there is in his treatment of tree trunks.

There is a ghastliness about his labored anatomies of them, as well as a want of specific character. Why need they be always flayed? The hide of a beech tree, or of a birch or fir, is nearly as fair a thing as an animal's; glossy as a dove's neck barred with black like a zebra, or glowing in purple grey and velvet brown like furry cattle in sunset. Why not paint these as Mr. Mulready paints other things, as they are? That simplest, that deepest of all secrets, which gives such majesty to the ragged leaves about the edges of the pond in the "Gravel-pit." (No.

125.), and imparts a strange interest to the grey ragged urchins disappearing behind the bank, that bank so low, so familiar, so sublime!

What a contrast between the deep sentiment of that commonest of all common, homeliest of all homely, subjects, and the lost sentiment of Mr.

Stanfield's "Amalfi" the chief landscape of the year, full of exalted material, and mighty crags, and ma.s.sy seas, grottoes, precipices, and convents, fortress-towers and cloud-capped mountains, and all in vain, merely because that same simple secret has been despised; because nothing there is painted as it is! The picture was a most singular example of the scenic a.s.semblage of contradictory theme which is characteristic of Picturesque, as opposed to Poetical, composition. The lines chosen from Rogers for a t.i.tular legend were full of summer, glowing with golden light, and toned with quiet melancholy:

"To him who sails Under the sh.o.r.e, a few white villages, Scattered above, below, some in the clouds, Some on the margin of the dark blue sea, And glittering thro' their lemon groves, announce The region of Amalfi. Then, half-fallen, A lonely watch-tower on the precipice, Their ancient landmark, comes--long may it last!

And to the seaman, in a distant age, Though now he little thinks how large his debt, Serve for their monument."

Prepared by these lines for a dream upon deep, calm waters, under the shadow and scent of the close lemon leaves, the spectator found himself placed by the painter, wet through, in a noisy fishing boat, on a splashing sea, with just as much on his hands as he could manage to keep her gunwale from being stove in against a black rock; and with a heavy grey squall to windward. (This squall, by the by, was the very same which appeared in the picture of the Magra of 1847, and so were the snowy mountains above; only the squall at Amalfi entered on the left, and at the Magra on the right.) Now the scenery of Amalfi is impressive alike in storm or calm, and the writer has seen the Mediterranean as majestic and as southern-looking in its rage as in its rest. But it is treating both the green water and woods unfairly to destroy their peace without expressing their power; and withdraw from them their sadness and their sun, without the subst.i.tution of any effect more terrific than that of a squall at the Nore. The snow on the distant mountains chilled what it could not elevate, and was untrue to the scene besides; there is no snow on the Monte St. Angelo in summer except what is kept for the Neapolitan confectioners. The great merit of the picture was its rock-painting; too good to have required the aid of the exaggeration of forms which satiated the eye throughout the composition.

Mr. F. R. Pickersgill's "Contest of Beauty" (No. 515.), and Mr. Uwins's "Vineyard Scene in the South of France," were, after Mr. Mulready's works, among the most interesting pieces of color in the Exhibition. The former, very rich and sweet in its harmonies, and especially happy in its contrasts of light and dark armor; nor less in the fancy of the little Love who, losing his hold of the orange boughs, was falling ignominiously without having time to open his wings. The latter was a curious example of what I have described as abstraction of color.

Strictly true or possible it was not; a vintage is usually a dusty and dim-looking procedure; but there were poetry and feeling in Mr. Uwins's idealization of the sombre black of the veritable grape into a luscious ultramarine purple, glowing among the green leaves like so much painted gla.s.s. The figures were bright and graceful in the extreme and most happily grouped. Little else that could be called color was to be seen upon the walls of the Exhibition, with the exception of the smaller works of Mr. Etty. Of these, the single head, "Morning Prayer," (No.

25.), and the "Still Life" (No. 73.), deserved, allowing for their peculiar aim, the highest praise. The larger subjects, more especially the St. John, were wanting in the merits peculiar to the painter; and in other respects it is alike painful and useless to allude to them. A very important and valuable work of Mr. Harding was placed, as usual, where its merits could be but ill seen, and where its chief fault, a feebleness of color in the princ.i.p.al light on the distant hills, was apparent. It was one of the very few views of the year which were transcripts, nearly without exaggeration, of the features of the localities.

Among the less conspicuous landscapes, Mr. W. E. Dighton's "Hay Meadow Corner" deserved especial notice; it was at once vigorous, fresh, faithful, and unpretending, the management of the distance most ingenious, and the painting of the foreground, with the single exception of Mr. Mulready's above noticed, unquestionably the best in the room. I have before had occasion to notice a picture by this artist, "A Hayfield in a Shower," exhibited in the British Inst.i.tution in 1847, and this year (1848) in the Scottish Academy, whose sky, in qualities of rainy, shattered, transparent grey, I have seldom seen equalled; nor the mist of its distance, expressive alike of previous heat and present heat of rain. I look with much interest for other works by this painter.

A hurried visit to Scotland in the spring of this year, while it enables the writer to acknowledge the ardor and genius manifested in very many of the works exhibited in the Scottish Academy, cannot be considered as furnishing him with sufficient grounds for specific criticism. He cannot, however, err in testifying his concurrence in the opinion expressed to him by several of the most distinguished members of that Academy, respecting the singular merit of the works of Mr. H.

Drummond. A cabinet picture of "Banditti on the Watch," appeared to him one of the most masterly, unaffected, and sterling pieces of quiet painting he has ever seen from the hand of a living artist; and the other works of Mr. Drummond were alike remarkable for their manly and earnest finish, and their sweetness of feeling.