Albert Durer Part 23

[Ill.u.s.tration: "UNA VILANA WENDISCH" Pen drawing with wash background in the collection of Mrs. Seymour _face_ p. 304]

See the description in "Durer's Schriftlicher Nachla.s.s" (Lange und Fuhse), page 263, from which the above abstract is made.

Sir Martin Conway continues:

In these volumes Durer is seen, sometimes writing under the influence of impetuous impulse, sometimes with leisurely care, allowing his pen to embroider the script with graceful marginal flourishes.

At what period of his career Durer first conceived the idea of writing a comprehensive work upon the theory and practice of art is unknown. It was certainly before the year 1512. The following list of chapters may perhaps be an early sketch of the plan.

Ten things are contained in the little book.

The first, the proportions of a young child.

The second, proportions of a grown man.

The third, proportions of a woman.

The fourth, proportions of a horse.

The fifth, something about architecture.

The sixth, about an apparatus through which it can be shown that 'all things may be traced.

The seventh, about light and shade.

The eighth, about colours, how to paint like nature.

The ninth, about the ordering (composition) of the picture.

The tenth, about free painting, which alone is made by Imagination without any other help.

III

Glad enough should we be to attain unto great knowledge without toil, for nature has implanted in us the desire of knowing all things, thereby to discern a truth of all things. But our dull wit cannot come unto such perfectness of all art, truth, and wisdom. Yet are we not, therefore, shut out altogether from all arts. If we want to sharpen our reason by learning and to practise ourselves therein, having once found the right path we may, step by step, seek, learn, comprehend, and finally reach and attain unto something true. Wherefore, he that understandeth how to learn somewhat in his leisure time, whereby he may most certainly be enabled to honour G.o.d, and to do what is useful both for himself and others, that man doeth well; and we know that in this wise he will gain much experience in art and will be able to make known its truth for our good. It is right, therefore, for one man to teach another. He that joyfully doeth so, upon him shall much be bestowed by G.o.d, from whom we receive all things. He hath highest praise.

One finds some who know nothing and learn nothing. They despise learning, and say that much evil cometh of the arts, and that some are wholly vile. I, on the contrary, hold that no art is evil, but that all are good. A sword is a sword which may be used either for murder or for justice. Similarly the arts are in themselves good. What G.o.d hath formed, that is good, misuse it how ye will.

Thou findest arts of all kinds; choose then for thyself that which is like to be of greatest service to thee. Learn it; let not the difficulty thereof vex thee till thou hast accomplished somewhat wherewith thou mayest be satisfied.

It is very necessary for a man to know some one thing by reason of the usefulness which ariseth therefrom. Wherefore we should all gladly learn, for the more we know so much the more do we resemble the likeness of G.o.d, who verily knoweth all things.

The more, therefore, a man learneth, so much the better doth he become, and so much the more love doth he win for the arts and for things exalted. Wherefore a man ought not to play the wanton, but should learn in season.

Is the artistic man pious and by nature good? He escheweth the evil and chooseth the good; and hereunto serve the arts, for they give the discernment of good and evil.

Some may learn somewhat of all arts, but that is not given to every man.

Nevertheless, there is no rational man so dull but that he may learn the one thing towards which his fancy draweth him most strongly. Hence no man is excused from learning something.

Let no man put too much confidence in himself, for many (pairs of eyes) see better than one. Though it is possible for a man to comprehend more than a thousand (men), still that cometh but rarely to pa.s.s.

Many fall into error because they follow their own taste alone; therefore let each look to it that his inclination blind not his judgment. For every mother is well pleased with her own child, and thus also it ariseth that many painters paint figures resembling themselves.

He that worketh in ignorance worketh more painfully than he that worketh with understanding; therefore let all learn to understand aright.

Now I know that in our German nation, at the present time, are many painters who stand in need of instruction, for they lack all real art, yet they nevertheless have many large works to do. Forasmuch then as they are so numerous, it is very needful for them to learn to better their work.

Willingly will I impart my teaching, hereafter written, to the man who knoweth little and would gladly learn; but I will not be c.u.mbered with the proud, who, according to their own estimate of themselves, know all things, and are best, and despise all else. From true artists, however, such as can show their meaning with the hand, I desire to learn humbly and with much thankfulness.

A thing thou beholdest is easier of belief than that thou hearest, but whatever is both heard and seen we grasp more firmly and lay hold on more securely. I will therefore do the work in both ways, that thus I may be better understood.

Whosoever will, therefore, let him hear and see what I say, do, and teach, for I hope it may be of service and not for a hindrance to the better arts, nor lead thee to neglect better things.

I hear moreover of no writer in modern times by whom aught hath been written and made known which I might read for my improvement. For some hide their art in great secrecy, and others write about things whereof they know nothing, so that their words are nowise better than mere noise, as he that knoweth somewhat is swift to discover. I therefore will write down with G.o.d's help the little that I know. Though many will scorn it I am not troubled, for I well know that it is easier to cast blame on a thing than to make anything better. Moreover, I will expound my meaning as clearly and plainly as I can; and, were it possible, I would gladly give everything I know to the light, for the good of cunning students who prize such art more highly than silver or gold. I further admonish all who have any knowledge in these matters that they write it down. Do it truly and plainly, not toilsomely and at great length, for the sake of those who seek and are glad to learn, to the great honour of G.o.d and your own praise. If I then set something burning and ye all add to it with skilful furthering, a blaze may in time arise therefrom which shall s.h.i.+ne throughout the whole world.

I shall here apply to what is to be called beautiful the same touchstone as that by which we decide what is right. For as what all the world prizeth as right we hold to be right, so what all the world esteemeth beautiful that will we also hold for beautiful, and ourselves strive to produce the like.

No one need blindly follow this theory of mine as though it were quite perfect, for human nature has not yet so far degenerated that another man cannot discover something better. So each may use my teaching as long as it seems good to him, or until he finds something better. Where he is not willing to accept it, he may well hold that this doctrine is not written for him, but for others who are willing.

That must be a strangely dull head which never trusts itself to find out anything fresh, but only travels along the old path, simply following others and not daring to reflect for itself. For it beseems each understanding, in following another, not to despair of itself discovering something better. If that is done, there remaineth no doubt but that in time this art will again reach the perfection it attained amongst the ancients.

Much will hereafter be written about subjects and refinements of painting. Sure am I that many notable men will arise, all of whom will write both well and better about this art, and will teach it better than I; for I myself hold my art at a very mean value, for I know what my faults are. Let every man therefore strive to better these my errors according to his powers. Would to G.o.d it were possible for me to see the work and art of the mighty masters to come, who are yet unborn, for I know that I might be improved upon. Ah! how often in my sleep do I behold great works of art and beautiful things, the like whereof never appear to me awake, but so soon as I awake, even the remembrance of them leaveth me.

Compare also the pa.s.sages already quoted,(pp. 15,16,26).

IV

"What an admirable temper!" is the exclamation which expresses our first feeling on reading the foregoing sentences. It renews the spirit of a man merely to peruse such things. Scales fall from our eyes, and we see what we most essentially are, with pleasure, as good children gleefully recognise their goodness: and at the same time we are filled with contrition that we should have ever forgotten it. And this that we most essentially are rational beings, lovers of goodness, children of hope,--how directly Durer appeals to it: "Nature has implanted in us the desire of knowing all things." It reminds one of Ben Jonson's:--

It is a false quarrel against nature, that she helps understanding but in a few, when the most part of mankind are inclined by her thither, if they would take the pains; no less than birds to fly, horses to run, &c., which, if they lose it, is through their own sluggishness, and by that means they become her prodigies, not her children.

There is something refres.h.i.+ng and inspiriting in the mere conviction of our teachableness; and when the same author, referring to Plato's travels in search of knowledge, says, "He laboured, so must we," we do not find the comparison humiliating either to Plato or ourselves. For "without a way there is no going," and every man of superior mould says to us with more or less of benignity, "I am the way: follow me." Such means or ways of attainment have been followed by all whose success is known to us, and are followed now by all "finely touched and gifted men." I might quote in ill.u.s.tration of these a.s.sertions the whole of Reynolds' Sixth Discourse, so marvellous for its acute and delicate discrimination; but I will content myself with a few leading pa.s.sages:

We cannot suppose that any one can really mean to exclude all imitation of others.

It is a common observation that no art was ever invented and carried to perfection at the same time.

The greatest natural genius cannot subsist on its own stock: he who resolves never to ransack any mind but his own will soon be reduced to the poorest of all imitations, he will be obliged to imitate himself, and to repeat what he has often before repeated.

The truth is, he whose feebleness is such as to make other men's thoughts an enc.u.mbrance to him, can have no very great strength of mind or genius of his own to be destroyed: so that not much harm will be done at the worst.

Of course, this last phrase will not apply universally; we must remember that the man who sets out to become an artist, or claims to be one by native gift, has made apparent that he is the possessor of no mean ambition. The humblest may see a way of improvement in their betters, and obey the command, "Follow me." Every man is not called to follow great artists, but only those who are peculiarly fitted to tread the difficult paths that climb Olympus-hill. Yet to all men alike the great artist in life, he who wedded failure to divinity, says, "Learn of me that I am meek and lowly of heart, and ye shall find rest to your souls."

He who confines himself to the imitation of an individual, as he never proposes to surpa.s.s, so he is not likely to equal, the object of his imitation. He professes only to follow; and he that follows must necessarily be behind.

It is of course impossible to surpa.s.s perfection, but it is possible to be made one with it.

To find excellences, however dispersed, to discover beauties, however concealed by the mult.i.tude of defects with which they are surrounded, can be the work only of him who, having a mind always alive to his art, has extended his views to all ages and to all schools; and has acquired from that comprehensive ma.s.s which he has thus gathered to himself a well-digested and perfect idea of his art, to which everything is referred. Like a sovereign judge and arbiter of art, he is possessed of that presiding power which separates and attracts every excellence from every school; selects both from what is great and what is little; brings home knowledge from the east and from the west; making the universe tributary towards furnis.h.i.+ng his mind, and enriching his works with originality and variety of inventions.

In this tine pa.s.sage we get back to our central idea in regard to the sense of proportion "making the universe tributary towards furnis.h.i.+ng his mind"; while in the "discovery of beauties" the complete artist "selects both from what is great and what is little," from the clouds of heaven and from the dunghills of the farmyard.

Study, therefore, the great works of the great masters for ever. Study, as nearly as you can, in the order, in the manner, and on the principles on which they studied. Study nature attentively, but always with those masters in your company; consider them as models which you are to imitate, and at the same time as rivals with whom you are to contend.

For "no man can be an artist, whatever he may suppose, upon any other terms."

Yes, an artist is a child who chooses his parents, nor is he limited to only two. Religion tells all men they have a Father, who is G.o.d; philosophy and tradition repeat, "man has a mother, who is Nature."

These sayings are plat.i.tudes; their application is so obvious that it is now generally forgotten. If G.o.d is a Father, it is the soul that chooses Him; if Nature is a mother, it is the man who chooses to regard her as such, since to the greater number it is well known she seems but a stepmother, and a cruel one at that. Elective affinities, chosen kindred!--"tell me what company you keep, and I will tell you who you are" (what you are worth). How many artist waifs one sees nowadays! lost souls, who choose to be n.o.body's children, and think they can teach themselves all they need to know.

I think the very striking agreement between artists so totally different in every respect except eminence, docility and anxiety to further art, as Durer and Reynolds, ought to impress our minds very deeply: even though, as is certainly the case, the way they point out has been very greatly abandoned of late years, and public inst.i.tutions in this and other countries proceed to further art on quite other lines; even though critics are almost unanimous in knowing better both the end and the way than the great masters who had not the advantage of a dash of science in their hydromel to make it sparkle, but instead made it yet richer and thicker by stirring up with it piety and religion. I think this "c.o.c.k-tail and sherry-cobbler" art criticism of to-day is very deleterious to the digestion, and that the piety and enthusiasm which Durer and Reynolds worked into their art were more wholesome, and better supplied the needs and deficiencies of artistic temperaments.