Seven Discourses on Art Part 8

If it is objected that Rubens judged ill at first in thinking it necessary to make his work so very ornamental, this brings the question upon new ground. It was his peculiar style; he could paint in no other; and he was selected for that work, probably, because it was his style.

n.o.body will dispute but some of the best of the Roman or Bolognian schools would have produced a more learned and more n.o.ble work.

This leads us to another important province of taste, of weighing the value of the different cla.s.ses of the art, and of estimating them accordingly.

All arts have means within them of applying themselves with success both to the intellectual and sensitive part of our natures. It can be no dispute, supposing both these means put in practice with equal abilities, to which we ought to give the preference: to him who represents the heroic arts and more dignified pa.s.sions of man, or to him who, by the help of meretricious ornaments, however elegant and graceful, captivates the sensuality, as it may be called, of our taste. Thus the Roman and Bolognian schools are reasonably preferred to the Venetian, Flemish, or Dutch schools, as they address themselves to our best and n.o.blest faculties.

Well-turned periods in eloquence, or harmony of numbers in poetry, which are in those arts what colouring is in painting, however highly we may esteem them, can never be considered as of equal importance with the art of unfolding truths that are useful to mankind, and which make us better or wiser. Nor can those works which remind us of the poverty and meanness of our nature, be considered as of equal rank with what excites ideas of grandeur, or raises and dignifies humanity; or, in the words of a late poet, which makes the beholder learn to venerate himself as man.

It is reason and good sense therefore which ranks and estimates every art, and every part of that art, according to its importance, from the painter of animated down to inanimated nature. We will not allow a man, who shall prefer the inferior style, to say it is his taste; taste here has nothing, or at least ought to have nothing to do with the question.

He wants not taste, but sense, and soundness of judgment.

Indeed, perfection in an inferior style may be reasonably preferred to mediocrity in the highest walks of art. A landscape of Claude Lorraine may be preferred to a history of Luca Jordano; but hence appears the necessity of the connoisseur's knowing in what consists the excellence of each cla.s.s, in order to judge how near it approaches to perfection.

Even in works of the same kind, as in history painting, which is composed of various parts, excellence of an inferior species, carried to a very high degree, will make a work very valuable, and in some measure compensate for the absence of the higher kind of merits. It is the duty of the connoisseur to know and esteem, as much as it may deserve, every part of painting; he will not then think even Ba.s.sano unworthy of his notice, who, though totally devoid of expression, sense, grace, or elegance, may be esteemed on account of his admirable taste of colours, which, in his best works, are little inferior to those of t.i.tian.

Since I have mentioned Ba.s.sano, we must do him likewise the justice to acknowledge that, though he did not aspire to the dignity of expressing the characters and pa.s.sions of men, yet, with respect to the facility and truth in his manner of touching animals of all kinds, and giving them what painters call their character, few have ever excelled him.

To Ba.s.sano we may add Paul Veronese and Tintoret, for their entire inattention to what is justly esteemed the most essential part of our art, the expression of the pa.s.sions. Notwithstanding these glaring deficiencies, we justly esteem their works; but it must be remembered that they do not please from those defects, but from their great excellences of another kind, and in spite of such transgressions. These excellences, too, as far as they go, are founded in the truth of general nature. They tell the truth, though not the whole truth.

By these considerations, which can never be too frequently impressed, may be obviated two errors which I observed to have been, formerly at least, the most prevalent, and to be most injurious to artists: that of thinking taste and genius to have nothing to do with reason, and that of taking particular living objects for nature.

I shall now say something on that part of taste which, as I have hinted to you before, does not belong so much to the external form of things, but is addressed to the mind, and depends on its original frame, or, to use the expression, the organisation of the soul; I mean the imagination and the pa.s.sions. The principles of these are as invariable as the former, and are to be known and reasoned upon in the same manner, by an appeal to common sense deciding upon the common feelings of mankind. This sense, and these feelings, appear to me of equal authority, and equally conclusive.

Now this appeal implies a general uniformity and agreement in the minds of men. It would be else an idle and vain endeavour to establish rules of art; it would be pursuing a phantom to attempt to move affections with which we were entirely unacquainted. We have no reason to suspect there is a greater difference between our minds than between our forms, of which, though there are no two alike, yet there is a general similitude that goes through the whole race of mankind; and those who have cultivated their taste can distinguish what is beautiful or deformed, or, in other words, what agrees with or what deviates from the general idea of nature, in one case as well as in the other.

The internal fabric of our mind, as well as the external form of our bodies, being nearly uniform, it seems then to follow, of course, that as the imagination is incapable of producing anything originally of itself, and can only vary and combine these ideas with which it is furnished by means of the senses, there will be, of course, an agreement in the imaginations as in the senses of men. There being this agreement, it follows that in all cases, in our lightest amus.e.m.e.nts as well as in our most serious actions and engagements of life, we must regulate our affections of every kind by that of others. The well-disciplined mind acknowledges this authority, and submits its own opinion to the public voice.

It is from knowing what are the general feelings and pa.s.sions of mankind that we acquire a true idea of what imagination is; though it appears as if we had nothing to do but to consult our own particular sensations, and these were sufficient to ensure us from all error and mistake.

A knowledge of the disposition and character of the human mind can be acquired only by experience: a great deal will be learned, I admit, by a habit of examining what pa.s.ses in our bosoms, what are our own motives of action, and of what kind of sentiments we are conscious on any occasion.

We may suppose a uniformity, and conclude that the same effect will be produced by the same cause in the minds of others. This examination will contribute to suggest to us matters of inquiry; but we can never be sure that our own sensations are true and right till they are confirmed by more extensive observation.

One man opposing another determines nothing but a general union of minds, like a general combination of the forces of all mankind, makes a strength that is irresistible. In fact, as he who does not know himself does not know others, so it may be said with equal truth, that he who does not know others knows himself but very imperfectly.

A man who thinks he is guarding himself against Prejudices by resisting the authority of others, leaves open every avenue to singularity, vanity, self-conceit, obstinacy, and many other vices, all tending to warp the judgment and prevent the natural operation of his faculties.

This submission to others is a deference which we owe, and indeed are forced involuntarily to pay.

In fact we are never satisfied with our opinions till they are ratified and confirmed by the suffrages of the rest of mankind. We dispute and wrangle for ever; we endeavour to get men to come to us when we do not go to them.

He therefore who is acquainted with the works which have pleased different ages and different countries, and has formed his opinion on them, has more materials and more means of knowing what is a.n.a.logous to the mind of man than he who is conversant only with the works of his own age or country. What has pleased, and continues to please, is likely to please again: hence are derived the rules of art, and on this immovable foundation they must ever stand.

This search and study of the history of the mind ought not to be confined to one art only. It is by the a.n.a.logy that one art bears to another that many things are ascertained which either were but faintly seen, or, perhaps, would not have been discovered at all if the inventor had not received the first hints from the practices of a sister art on a similar occasion. The frequent allusions which every man who treats of any art is obliged to draw from others in order to ill.u.s.trate and confirm his principles, sufficiently show their near connection and inseparable relation.

All arts having the same general end, which is to please, and addressing themselves to the same faculties through the medium of the senses, it follows that their rules and principles must have as great affinity as the different materials and the different organs or vehicles by which they pa.s.s to the mind will permit them to retain.

We may therefore conclude that the real substance, as it may be called, of what goes under the name of taste, is fixed and established in the nature of things; that there are certain and regular causes by which the imagination and pa.s.sions of men are affected; and that the knowledge of these causes is acquired by a laborious and diligent investigation of nature, and by the same slow progress as wisdom or knowledge of every kind, however instantaneous its operations may appear when thus acquired.

It has been often observed that the good and virtuous man alone can acquire this true or just relish, even of works of art. This opinion will not appear entirely without foundation when we consider that the same habit of mind which is acquired by our search after truth in the more serious duties of life, is only transferred to the pursuit of lighter amus.e.m.e.nts: the same disposition, the same desire to find something steady, substantial, and durable, on which the mind can lean, as it were, and rest with safety. The subject only is changed. We pursue the same method in our search after the idea of beauty and perfection in each; of virtue, by looking forwards beyond ourselves to society, and to the whole; of arts, by extending our views in the same manner to all ages and all times.

Every art, like our own, has in its composition fluctuating as well as fixed principles. It is an attentive inquiry into their difference that will enable us to determine how far we are influenced by custom and habit, and what is fixed in the nature of things.

To distinguish how much has solid foundation, we may have recourse to the same proof by which some hold wit ought to be tried--whether it preserves itself when translated. That wit is false which can subsist only in one language; and that picture which pleases only one age or one nation, owes its reception to some local or accidental a.s.sociation of ideas.

We may apply this to every custom and habit of life. Thus the general principles of urbanity, politeness, or civility, have been ever the same in all nations; but the mode in which they are dressed is continually varying. The general idea of showing respect is by making yourself less: but the manner, whether by bowing the body, kneeling, prostration, pulling off the upper part of our dress, or taking away the lower, is a matter of habit. It would be unjust to conclude that all ornaments, because they were at first arbitrarily contrived, are therefore undeserving of our attention; on the contrary, he who neglects the cultivation of those ornaments, acts contrarily to nature and reason. As life would be imperfect without its highest ornaments, the arts, so these arts themselves would be imperfect without _their_ ornaments.

Though we by no means ought to rank these with positive and substantial beauties, yet it must be allowed that a knowledge of both is essentially requisite towards forming a complete, whole, and perfect taste. It is in reality from the ornaments that arts receive their peculiar character and complexion; we may add that in them we find the characteristical mark of a national taste, as by throwing up a feather in the air we know which way the wind blows, better than by a more heavy matter.

The striking distinction between the works of the Roman, Bolognian, and Venetian schools, consists more in that general effect which is produced by colours than in the more profound excellences of the art; at least it is from thence that each is distinguished and known at first sight. As it is the ornaments rather than the proportions of architecture which at the first glance distinguish the different orders from each other; the Doric is known by its triglyphs, the Ionic by its volutes, and the Corinthian by its acanthus.

What distinguishes oratory from a cold narration, is a more liberal though chaste use of these ornaments which go under the name of figurative and metaphorical expressions; and poetry distinguishes itself from oratory by words and expressions still more ardent and glowing. What separates and distinguishes poetry is more particularly the ornament of _verse_; it is this which gives it its character, and is an essential, without which it cannot exist. Custom has appropriated different metre to different kinds of composition, in which the world is not perfectly agreed. In England the dispute is not yet settled which is to be preferred, rhyme or blank verse. But however we disagree about what these metrical ornaments shall be, that some metre is essentially necessary is universally acknowledged.

In poetry or eloquence, to determine how far figurative or metaphorical language may proceed, and when it begins to be affectation or beside the truth, must be determined by taste, though this taste we must never forget is regulated and formed by the presiding feelings of mankind, by those works which have approved themselves to all times and all persons.

Thus, though eloquence has undoubtedly an essential and intrinsic excellence, and immovable principles common to all languages, founded in the nature of our pa.s.sions and affections, yet it has its ornaments and modes of address which are merely arbitrary. What is approved in the Eastern nations as grand and majestic, would be considered by the Greeks and Romans as turgid and inflated; and they, in return, would be thought by the Orientals to express themselves in a cold and insipid manner.

We may add likewise to the credit of ornaments, that it is by their means that art itself accomplishes its purpose. Fresnoy calls colouring, which is one of the chief ornaments of painting, _lena sororis_, that which procures lovers and admirers to the more valuable excellences of the art.

It appears to be the same right turn of mind which enables a man to acquire the _truth_, or the just idea of what is right in the ornaments, as in the more stable principles of art. It has still the same centre of perfection, though it is the centre of a smaller circle.

To ill.u.s.trate this by the fas.h.i.+on of dress, in which there is allowed to be a good or, bad taste. The component parts of dress are continually changing from great to little, from short to long, but the general form still remains; it is still the same general dress which is comparatively fixed, though on a very slender foundation, but it is on this which fas.h.i.+on must rest. He who invents with the most success, or dresses in, the best taste, would probably, from the same sagacity employed to greater purposes, have discovered equal skill, or have formed the same correct taste in the highest labours of art.

I have mentioned taste in dress, which is certainly one of the lowest subjects to which this word is applied; yet, as I have before observed, there is a right even here, however narrow its foundation respecting the fas.h.i.+on of any particular nation. But we have still more slender means of determining, in regard to the different customs of different ages or countries, to which to give the preference, since they seem to be all equally removed from nature.

If an European, when he has cut off his beard, and put false hair on his head, or bound up his own natural hair in regular hard knots, as unlike nature as he can possibly make it; and having rendered them immovable by the help of the fat of hogs, has covered the whole with flour, laid on by a machine with the utmost regularity; if, when thus attired he issues forth, he meets a Cherokee Indian, who has bestowed as much time at his toilet, and laid on with equal care and attention his yellow and red ochre on particular parts of his forehead or cheeks, as he judges most becoming; whoever despises the other for this attention to the fas.h.i.+on of his country, whichever of these two first feels himself provoked to laugh, is the barbarian.

All these fas.h.i.+ons are very innocent, neither worth disquisition, nor any endeavour to alter them, as the change would, in all probability, be equally distant from nature. The only circ.u.mstances against which indignation may reasonably be moved, are where the operation is painful or destructive of health, such as is practised at Otahaiti, and the straight lacing of the English ladies; of the last of which, how destructive it must be to health and long life, the professor of anatomy took an opportunity of proving a few days since in this Academy.

It is in dress as in things of greater consequence. Fas.h.i.+ons originate from those only who have the high and powerful advantages of rank, birth, and fortune; as many of the ornaments of art, those at least for which no reason can be given, are transmitted to us, are adopted, and acquire their consequence from the company in which we have been used to see them. As Greece and Rome are the fountains from whence have flowed all kinds of excellence, to that veneration which they have a right to claim for the pleasure and knowledge which they have afforded us, we voluntarily add our approbation of every ornament and every custom that belonged to them, even to the fas.h.i.+on of their dress. For it may be observed that, not satisfied with them in their own place, we make no difficulty of dressing statues of modern heroes or senators in the fas.h.i.+on of the Roman armour or peaceful robe; we go so far as hardly to bear a statue in any other drapery.

The figures of the great men of those nations have come down to us in sculpture. In sculpture remain almost all the excellent specimens of ancient art. We have so far a.s.sociated personal dignity to the persons thus represented, and the truth of art to their manner of representation, that it is not in our power any longer to separate them. This is not so in painting; because, having no excellent ancient portraits, that connection was never formed. Indeed, we could no more venture to paint a general officer in a Roman military habit, than we could make a statue in the present uniform. But since we have no ancient portraits, to show how ready we are to adopt those kind of prejudices, we make the best authority among the moderns serve the same purpose. The great variety of excellent portraits with which Vand.y.k.e has enriched this nation, we are not content to admire for their real excellence, but extend our approbation even to the dress which happened to be the fas.h.i.+on of that age. We all very well remember how common it was a few years ago for portraits to be drawn in this Gothic dress, and this custom is not yet entirely laid aside. By this means it must be acknowledged very ordinary pictures acquired something of the air and effect of the works of Vand.y.k.e, and appeared therefore at first sight to be better pictures than they really were; they appeared so, however, to those only who had the means of making this a.s.sociation, for when made, it was irresistible. But this a.s.sociation is nature, and refers to that Secondary truth that comes from conformity to general prejudice and opinion; it is therefore not merely fantastical. Besides the prejudice which we have in favour of ancient dresses, there may be likewise other reasons, amongst which we may justly rank the simplicity of them, consisting of little more than one single piece of drapery, without those whimsical capricious forms by which all other dresses are embarra.s.sed.

Thus, though it is from the prejudice we have in favour of the ancients, who have taught us architecture, that we have adopted likewise their ornaments; and though we are satisfied that neither nature nor reason is the foundation of those beauties which we imagine we see in that art, yet if any one persuaded of this truth should, therefore, invent new orders of equal beauty, which we will suppose to be possible, yet they would not please, nor ought he to complain, since the old has that great advantage of having custom and prejudice on its side. In this case we leave what has every prejudice in its favour to take that which will have no advantage over what we have left, but novelty, which soon destroys itself, and, at any rate, is but a weak antagonist against custom.

These ornaments, having the right of possession, ought not to be removed but to make room for not only what has higher pretensions, but such pretensions as will balance the evil and confusion which innovation always brings with it.

To this we may add, even the durability of the materials will often contribute to give a superiority to one object over another. Ornaments in buildings, with which taste is princ.i.p.ally concerned, are composed of materials which last longer than those of which dress is composed; it, therefore, makes higher pretensions to our favour and prejudice.

Some attention is surely required to what we can no more get rid of than we can go out of ourselves. We are creatures of prejudice; we neither can nor ought to eradicate it; we must only regulate, it by reason, which regulation by reason is, indeed, little more than obliging the lesser, the focal and temporary prejudices, to give way to those which are more durable and lasting.

He, therefore, who in his practice of portrait painting wishes to dignify his subject, which we will suppose to be a lady, will not paint her in the modern dress, the familiarity of which alone is sufficient to destroy all dignity. He takes care that his work shall correspond to those ideas and that imagination which he knows will regulate the judgment of others, and, therefore, dresses his figure something with the general air of the antique for the sake of dignity, and preserves something of the modern for the sake of likeness. By this conduct his works correspond with those prejudices which we have in favour of what we continually see; and the relish of the antique simplicity corresponds with what we may call the, more learned and scientific prejudice.

There was a statue made not long since of Voltaire, which the sculptor, not having that respect for the prejudices of mankind which he ought to have, has made entirely naked, and as meagre and emaciated as the original is said to be. The consequence is what might be expected; it has remained in the sculptor's shop, though it was intended as a public ornament and a public honour to Voltaire, as it was procured at the expense of his cotemporary wits and admirers.

Whoever would reform a nation, supposing a bad taste to prevail in it, will not accomplish his purpose by going directly against the stream of their prejudices. Men's minds must be prepared to receive what is new to them. Reformation is a work of time. A national taste, however wrong it may be, cannot be totally change at once; we must yield a little to the prepossession which has taken hold on the mind, and we may then bring people to adopt what would offend them if endeavoured to be introduced by storm. When Battisto Franco was employed, in conjunction with t.i.tian, Paul Veronese, and Tintoret, to adorn the library of St. Mark, his work, Vasari says, gave less satisfaction than any of the others: the dry manner of the Roman school was very ill calculated to please eyes that had been accustomed to the luxuriance, splendour, and richness of Venetian colouring. Had the Romans been the judges of this work, probably the determination would have been just contrary; for in the more n.o.ble parts of the art Battisto Franco was, perhaps, not inferior to any of his rivals.

Gentlemen,--It has been the main scope and princ.i.p.al end of this discourse to demonstrate the reality of a standard in taste, as well as in corporeal beauty; that a false or depraved taste is a thing as well known, as easily discovered, as anything that is deformed, misshapen, or wrong in our form or outward make; and that this knowledge is derived from the uniformity of sentiments among mankind, from whence proceeds the knowledge of what are the general habits of nature, the result of which is an idea of perfect beauty.