Albert Durer Part 25

NATURE

I

We regard a form and figure out of nature with more pleasure than another, though the thing in itself is not necessarily altogether better or worse.

Life in nature showeth forth the truth of these things (the words of difference--i.e., the character of bodily habit to which they refer), wherefore regard it well, order thyself thereby and depart not from nature in thine opinions, neither imagine of thyself to invent aught better, else shalt thou be led astray, for art standeth firmly fixed in nature, and whoso can rend her forth thence he only possesseth her. If thou acquirest her, she will remove many faults for thee from thy work.

Neither must the figure be made youthful before and old behind, or contrariwise; for that unto which nature is opposed is bad. Hence it followeth that each figure should be of one kind alone throughout, either young or old, or middle-aged, or lean or fat, or soft or hard.

The more closely thy work abideth by life in its form, so much the better will it appear; and this is true. Wherefore never more imagine that thou either canst or shalt make anything better than G.o.d hath given power to His creatures to do. For thy power is weakness compared to G.o.d's creating hand. (_See_ continuation of pa.s.sage, p. 10.)

Compare also pa.s.sages quoted (pp. 289-291).

II

In these and other pa.s.sages Durer speaks about "nature," and enjoins on the artist respect for and conformity to "nature" in a manner which reminds us of that still current in dictums about art. Indeed, it seems probable that Durer's use of this term was almost as confused as that of a modern art-critic. There are two senses in which the word nature is employed, the confusion of which is ten times more confounded than any of the others, and deserves, indeed, utter d.a.m.nation, so prolific of evil is it. We call the objects of sensory perception "nature"--whatever is seen, heard, felt, smelt or tasted is a part of nature. And yet we constantly speak of seeing, hearing, touching, smelling, and tasting monstrous and unnatural things. And a monstrous and unnatural thing is not merely one which is rare, but even more decidedly one of which we disapprove. So that the second use of the term conveys some sense of exceptionality, but far more of lack of conformity to human desires and expectations. Now, many things which do not exist are perfectly natural in this second sense: fairy-lands, heavens, &c. We perfectly understand what is meant by a natural and an unnatural imagination, we perceive readily all kind of degrees between the monstrous and the natural in pure fiction. Now, this second use of the term nature is the only one which is of any vital importance to our judgments upon works of art; yet current judgments are more often than not based wholly on the first sense, which means merely all objects perceived by the senses; and this, draped in the authority and phrases belonging to judgments based on the second and really pertinent sense.

Whole schools of painting and criticism have arisen and flourish whose only reason for existence is the extreme facility with which this confusion is made in European languages. It sounds so plausible that some have censured Michael Angelo for bad drawing because men are not from 9 to 15 or 16 heads high, and have not muscles so developed as the G.o.ds and t.i.tans of his creation. And others have objected to the angels, the anatomical ambiguity of their wing articulations. To say that a sketch or picture is out of tone or drawing d.a.m.ns, in many circles to-day; in spite of the fact that the most famous masterpieces, if judged by the same standard, would be equally offensive. This absurdity, even where its grosser developments are avoided, breeds abundant contradictions and confusion in the mouths of those who plume themselves on culture and discernment. I hope not to have been too saucy, therefore, in pointing out this pitfall to my readers in regard to these sentences which I thought it worth while to quote from Durer, merely because if I did not do so I foresaw that they would be quoted against me.

CHAPTER VI

THE CHOICE OF AN ARTIST

I

In the great earnestness with which the difficulties that beset art and the artist impressed him, Durer intended to write a _Vade Mec.u.m_ for those who should come after him. He has left among his MS. papers many plans, rough drafts, and notes for some such work, the form of which no doubt changed from time to time. The one which gives us the most comprehensive idea of his intentions is perhaps the following.

II

Ihs. Maria

By the grace and help of G.o.d I have here set down all that I have learnt in practice, which is likely to be of use in painting, for the service of all students who would gladly learn. That, perchance, by my help they may advance still further in the higher understanding of such art, as he who seeketh may well do, if he is inclined thereto; for my reason sufficeth not to lay the foundations of this great, far-reaching, infinite art of true painting.

Item.--In order that thou mayest thoroughly and rightly comprehend what is, or is called, an "artistic painter," I will inform thee and recount to thee. If the world often goeth without an "artistic painter," whilst for two or three hundred years none such appeareth, it is because those who might have become such devote not themselves to art. Observe then the three essential qualities following, which belong to the true artist in painting. These are the three main points in the whole book.

I. The First Division of the book is the Prologue, and it compriseth three parts (A, B, and C).

A. The first part of the Prologue telleth us how the lad should be taught, and how attention should be paid to the tendency of his temperament. It falleth into six parts:

1. That note should be taken of the birth of the child, in what Sign it occurreth; with some explanations. (Pray G.o.d for a lucky hour!)

2. That his form and stature should be considered; with some explanations.

3. How he ought to be nurtured in learning from the first; with some explanations.

4. That the child should be observed, whether he learneth best when kindly praised or when chidden; with explanations.

5. That the child be kept eager to learn and be not vexed.

6. If the child worketh too hard, so that he might fall under the hand of melancholy, that he be enticed therefrom by merry music to the pleasuring of his blood.

B. The second part of the Preface showeth how the lad should be brought up in the fear of G.o.d and in reverence, that so he may attain grace, whereby he may be much strengthened in intelligent art. It falleth into six parts:

1. That the lad be brought up in the fear of G.o.d and be taught to pray to G.o.d for the grace of quick perception (_ubtilitet_) and to honour G.o.d.

2. That he be kept moderate in eating and drinking, and also in sleeping.

3. That he dwell in a pleasant house, so that he be distracted by no manner of hindrance.

4. That he be kept from women and live not loosely with them; that he not so much as see or touch one; and that he guard himself from all impurity. Nothing weakens the understanding more than impurity.

5. That he know how to read and write well, and be also instructed in Latin, so far as to understand certain writings.

6. That such an one have sufficient means to devote himself without anxiety (to his art), and that his health be attended to with medicines when needful.

C. The third part of the Prologue teacheth us of the great usefulness, joy, and delight which spring from painting. It falleth into six parts:

1. It is a useful art when it is of G.o.dly sort, and is employed for holy edification.

2. It is useful, and much evil is thereby avoided, if a man devote himself thereto who else had wasted his time.

3. It is useful when no one thinks so, for a man will have great joy if he occupy himself with that which is so rich in joys.

4. It is useful because a man gaineth great and lasting memory thereby if he applieth it aright.

5. It is useful because G.o.d is thereby honoured when it is seen that He hath bestowed such genius upon one of His creatures in whom is such art. All men will be gracious unto thee by reason of thine art.

6. The sixth use is that if thou art poor thou mayest by such art come unto great wealth and riches.

II. The Second Division of the book treateth of Painting itself; it also is threefold.

A. The first part is of the freedom of painting; in six ways.

B. The second part is of the proportions of men and buildings, and what is needful for painting; in six ways.[90]

1. Of the proportions of men.

2. Of the proportions of horses.

3. Of the proportions of buildings.

4. Of perspective.

5. Of light and shade.

6. Of colours, how they are to be made to resemble nature.