按键盘上方向键 ← 或 → 可快速上下翻页，按键盘上的 Enter 键可回到本书目录页，按键盘上方向键 ↑ 可回到本页顶部！
————未阅读完？加入书签已便下次继续阅读！
of the artist； and ranked him as an ornamental painter； there would have
been no difficulty in answering： 〃It was unreasonable to expect what was
never intended。 His intention was solely to produce an effect of light and
Shadow； everything was to be sacrificed to that intent； and the capricious
composition of that picture suited very well with the style he professed。〃
Young minds are indeed too apt to be captivated by this splendour of
style； and that of the Venetians will be particularly pleasing； for by them
all those parts of the art that give pleasure to the eye or sense have been
cultivated with care； and carried to the degree nearest to perfection。 The
powers exerted in the mechanical part of the art have been called the
language of painters； but we must say； that it is but poor eloquence which
only shows that the orator can talk。 Words should be employed as the
means； not as the end： language is the instrument； conviction is the
work。
The language of painting must indeed be allowed these masters； but
even in that they have shown more copiousness than choice； and more
luxuriancy than judgment。 If we consider the uninteresting subjects of
their invention； or at least the uninteresting manner in which they are
treated； if we attend to their capricious composition； their violent and
affected contrasts； whether of figures； or of light and shadow； the richness
of their drapery； and； at the same time； the mean effect which the
43
… Page 44…
SEVEN DISCOURSES ON ART
discrimination of stuffs gives to their pictures； if to these we add their total
inattention to expression； and then reflect on the conceptions and the
learning of Michael Angelo； or the simplicity of Raffaelle； we can no
longer dwell on the comparison。 Even in colouring； if we compare the
quietness and chastity of the Bolognese pencil to the bustle and tumult that
fills every part of； a Venetian picture； without the least attempt to interest
the passions； their boasted art will appear a mere struggle without effect；
an empty tale told by an idiot； full of sound and fury； signifying nothing。
Such as suppose that the great style might happily be blended with the
ornamental； that the simple； grave； and majestic dignity of Raffaelle could
unite with the glow and bustle of a Paulo or Tintoret； are totally mistaken。
The principles by which each are attained are so contrary to each other；
that they seem； in my opinion； incompatible； and as impossible to exist
together； as to unite in the mind at the same time the most sublime ideas
and the lowest sensuality。
The subjects of the Venetian painters are mostly such as give them an
opportunity of introducing a great number of figures； such as feasts；
marriages； and processions； public martyrdoms； or miracles。 I can easily
conceive that Paul Veronese； if he were asked； would say that no subject
was proper for an historical picture but such as admitted at least forty
figures； for in a less number； he would assert； there could be no
opportunity of the painter's showing his art in composition； his dexterity of
managing and disposing the masses of light； and groups of figures； and of
introducing a variety of Eastern dresses and characters in their rich stuffs。
But the thing is very different with a pupil of the greater schools。
Annibale Caracci thought twelve figures sufficient for any story： he
conceived that more would contribute to no end but to fill space； that they
would； be but cold spectators of the general action； or； to use his own
expression； that they would be figures to be let。 Besides； it is impossible
for a picture composed of so many parts to have that effect； so
indispensably necessary to grandeur； of one complete whole。 However
contradictory it may be in geometry； it is true in taste； that many little
things will not make a great one。 The sublime impresses the mind at
once with one great idea； it is a single blow： the elegant indeed may be
44
… Page 45…
SEVEN DISCOURSES ON ART
produced by a repetition； by an accumulation of many minute
circumstances。
However great the difference is between the composition of the
Venetian and the rest of the Italian schools； there is full as great a disparity
in the effect of their pictures as produced by colours。 And though in this
respect the Venetians must be allowed extraordinary skill； yet even that
skill； as they have employed it； will but ill correspond with the great style。
Their colouring is not only too brilliant； but； I will venture to say； too
harmonious to produce that solidity； steadiness； and simplicity of effect
which heroic subjects require； and which simple or grave colours only can
give to a work。 That they are to be cautiously studied by those who are
ambitious of treading the great walk of history is confirmed； if it wants
confirmation； by the greatest of all authorities； Michael Angelo。 This
wonderful man； after having seen a picture by Titian； told Vasari； who
accompanied him； 〃that he liked much his colouring and manner； but then
he added； that it was a pity the Venetian painters did not learn to draw
correctly in their early youth； and adopt a better manner of study。〃
By this it appears that the principal attention of the Venetian painters；
in the opinion of Michael Angelo； seemed to be engrossed by the study of
colours； to the neglect of the ideal beauty of form； or propriety of
expression。 But if general censure was given to that school from the
sight of a picture of Titian； how much more heavily； and more justly；
would the censure fall on Paulo Veronese； or more especially on Tintoret？
And here I cannot avoid citing Vasari's opinion of the style and manner of
Tintoret。 〃Of all the extraordinary geniuses；〃 says he； 〃that have ever
practised the art of painting； for wild； capricious； extravagant； and
fantastical inventions； for furious impetuosity and boldness in the
execution of his work； there is none like Tintoret； his strange whims are
even beyond extravagance； and his works seem to be produced rather by
chance than in consequence of any previous design； as if he wanted to
convince the world that； the art was a trifle； and of the most easy
attainment。〃
For my own part； when I speak of the Venetian painters； I wish to be
understood to mean Paulo Veronese and Tintoret； to the exclusion of Titian；
45
… Page 46…
SEVEN DISCOURSES ON ART
for though his style is not so pure as that of many other of the Italian
schools； yet there is a sort of senatorial dignity about him； which； however
awkward in his imitators； seems to become him exceedingly。 His
portraits alone； from the nobleness and simplicity of character which he
always gave them； will entitle him to the greatest respect； as he
undoubtedly stands in the first rank in this branch of the art。
It is not with Titian； but with the seducing qualities of the two former；
that I could wish to caution you； against being too much captivated。
These are the persons who may be said to have exhausted all the powers of
florid eloquence； to debauch the young and unexperienced； and have；
without doubt； been the cause of turning off the attention of the
connoisseur and of the patron of art； as well as that of the painter； from
those higher excellences of which the art is capable； and which ought to be
required in every consi