[1]Tintoret. (Ridolfi. Vita.)[2]We live by admiration, hope, and love. (Excursion, Book IV.)[3]Rom. xii. 9.[4]The extent of ravage among works of art, or of historical interest, continually committing throughout the continent may, perhaps, be in some measure estimated from the following facts, to which the experience of every traveller may add indefinitely:At Beauvois—The magnificent old houses supported on columns of workmanship (so far as I recollect) unique in the north of France, at the corner of the market-place, have recently been destroyed for the enlarging of some ironmongery and grocery warehouses. The arch across the street leading to the cathedral has been destroyed also, for what purpose, I know not.At Rouen—The last of the characteristic houses on the quay is now disappearing. When I was last there, I witnessed the destruction of the noble gothic portal of the church of St. Nicholas, whose position interfered with the courtyard of an hotel; the greater part of the ancient churches are used as smithies, or warehouses for goods. So also at Tours (St. Julien). One of the most interesting and superb pieces of middle-age domestic architecture in Europe, opposite the west front of the cathedral, is occupied as a café, and its lower story concealed by painted wainscotings; representing, if I recollect right, twopenny rolls surrounded by circles of admiring cherubs.At Geneva—The wooden projections or loggias which were once the characteristic feature of the city, have been entirely removed within the last ten years.At Pisa—The old Baptistery is at this present time in process of being "restored," that is, dashed to pieces, and common stone painted black and varnished, substituted for its black marble. In the Campo Santo, the invaluable frescoes, which might be protected by merely glazing the arcades, are left exposed to wind and weather. While I was there last year I saw a monument put up against the lower part of the wall, to some private person; the bricklayers knocked out a large space of the lower brickwork, with what beneficial effect to the loose and blistered stucco on which the frescoes are painted above, I leave the reader to imagine; inserted the tablet, and then plastered over the marks of the insertion, destroying a portion of the border of one of the paintings. The greater part of Giotto's "Satan before God," has been destroyed by the recent insertion of one of the beams of the roof.The tomb of Antonio Puccinello, which was the last actually put up against the frescoes, and which destroyed the terminal subject of the Giotto series, bears date 1808.It has been proposed (or at least it is so reported) that the church of La Spina should be destroyed in order to widen the quay.At Florence—One of its most important and characteristic streets, that in which stands the church of Or San Michele, has been within the last five years entirely destroyed and rebuilt in the French style; consisting now almost exclusively of shops of bijouterie and parfumerie. Owing to this direction of public funds, the fronts of the Duomo, Santa Croce, St. Lorenzo, and half the others in Florence remain in their original bricks.The old refectory of Santa Croce, containing an invaluable Cenacolo, if not by Giotto, at least one of the finest works of his school, is used as a carpet manufactory. In order to see the fresco, I had to get on the top of a loom. Thecenacolo(of Raffaelle?) recently discovered, I saw when the refectory it adorns was used as a coach-house. The fresco, which gave Raffaelle the idea of the Christ of the Transfiguration, is in an old wood shed at San Miniato, concealed behind a heap of faggots. In June, last year, I saw Gentile da Fabriano's picture of the Adoration of the Magi, belonging to the Academy of Florence, put face upmost in a shower of rain in an open cart; on my suggesting the possibility of the rain hurting it, an old piece of matting was thrown over its face, and it was wheeled away "per essere pulita." What fate this signified, is best to be discovered from the large Perugino in the Academy; whose divine distant landscape is now almost concealed by the mass of French ultramarine, painted over it apparently with a common house brush, by the picture cleaner.Not to detain the reader by going through the cities of Italy, I will only further mention, that at Padua, the rain beats through the west window of the Arena chapel, and runs downoverthe frescoes. That at Venice, in September last, I saw three buckets set in the scuola di San Rocco to catch the rain which camethroughthecanvasesof Tintoret on the roof; and that while the old works of art are left thus unprotected, the palaces are being restored in the following modes. The English residents knock out bow windows to see up and down the canal. The Italians paint all themarblewhite or cream color, stucco the fronts, and paint them in blue and white stripes to imitate alabaster. (This has been done with Danieli's hotel, with the north angle of the church of St. Mark, there replacing the real alabasters which have been torn down, with a noble old house in St. Mark's place, and with several in the narrow canals.) The marbles of St. Mark's, and carvings, are beingscrapeddown to make them look bright—the lower arcade of the Doge's palace is whitewashed—the entrance porch is being restored—the operation having already proceeded so far as the knocking off of the heads of the old statues—an iron railing painted black and yellow has been put round the court. Faded tapestries, and lottery tickets (the latter for the benefit of charitable institutions) are exposed for sale in the council chambers.[5]Hooker, Eccl. Pol. Book I. chap. ii. § 2.[6]I do not assert that the accidental utility of a theoretic pursuit, as of botany for instance, in any way degrades it, though it cannot be considered as elevating it. But essential utility, a purpose to which the pursuit is in some measure referred, as in architecture, invariably degrades, because then the theoretic part of the art is comparatively lost sight of; and thus architecture takes a level below that of sculpture or painting, even when the powers of mind developed in it are of the same high order.When we pronounce the name of Giotto, our venerant thoughts are at Assisi and Padua, before they climb the Campanile of Santa Maria del Fiore. And he who would raise the ghost of Michael Angelo, must haunt the Sistine and St. Lorenzo, not St. Peter's.
[1]Tintoret. (Ridolfi. Vita.)
[2]We live by admiration, hope, and love. (Excursion, Book IV.)
[3]Rom. xii. 9.
[4]The extent of ravage among works of art, or of historical interest, continually committing throughout the continent may, perhaps, be in some measure estimated from the following facts, to which the experience of every traveller may add indefinitely:
At Beauvois—The magnificent old houses supported on columns of workmanship (so far as I recollect) unique in the north of France, at the corner of the market-place, have recently been destroyed for the enlarging of some ironmongery and grocery warehouses. The arch across the street leading to the cathedral has been destroyed also, for what purpose, I know not.
At Rouen—The last of the characteristic houses on the quay is now disappearing. When I was last there, I witnessed the destruction of the noble gothic portal of the church of St. Nicholas, whose position interfered with the courtyard of an hotel; the greater part of the ancient churches are used as smithies, or warehouses for goods. So also at Tours (St. Julien). One of the most interesting and superb pieces of middle-age domestic architecture in Europe, opposite the west front of the cathedral, is occupied as a café, and its lower story concealed by painted wainscotings; representing, if I recollect right, twopenny rolls surrounded by circles of admiring cherubs.
At Geneva—The wooden projections or loggias which were once the characteristic feature of the city, have been entirely removed within the last ten years.
At Pisa—The old Baptistery is at this present time in process of being "restored," that is, dashed to pieces, and common stone painted black and varnished, substituted for its black marble. In the Campo Santo, the invaluable frescoes, which might be protected by merely glazing the arcades, are left exposed to wind and weather. While I was there last year I saw a monument put up against the lower part of the wall, to some private person; the bricklayers knocked out a large space of the lower brickwork, with what beneficial effect to the loose and blistered stucco on which the frescoes are painted above, I leave the reader to imagine; inserted the tablet, and then plastered over the marks of the insertion, destroying a portion of the border of one of the paintings. The greater part of Giotto's "Satan before God," has been destroyed by the recent insertion of one of the beams of the roof.
The tomb of Antonio Puccinello, which was the last actually put up against the frescoes, and which destroyed the terminal subject of the Giotto series, bears date 1808.
It has been proposed (or at least it is so reported) that the church of La Spina should be destroyed in order to widen the quay.
At Florence—One of its most important and characteristic streets, that in which stands the church of Or San Michele, has been within the last five years entirely destroyed and rebuilt in the French style; consisting now almost exclusively of shops of bijouterie and parfumerie. Owing to this direction of public funds, the fronts of the Duomo, Santa Croce, St. Lorenzo, and half the others in Florence remain in their original bricks.
The old refectory of Santa Croce, containing an invaluable Cenacolo, if not by Giotto, at least one of the finest works of his school, is used as a carpet manufactory. In order to see the fresco, I had to get on the top of a loom. Thecenacolo(of Raffaelle?) recently discovered, I saw when the refectory it adorns was used as a coach-house. The fresco, which gave Raffaelle the idea of the Christ of the Transfiguration, is in an old wood shed at San Miniato, concealed behind a heap of faggots. In June, last year, I saw Gentile da Fabriano's picture of the Adoration of the Magi, belonging to the Academy of Florence, put face upmost in a shower of rain in an open cart; on my suggesting the possibility of the rain hurting it, an old piece of matting was thrown over its face, and it was wheeled away "per essere pulita." What fate this signified, is best to be discovered from the large Perugino in the Academy; whose divine distant landscape is now almost concealed by the mass of French ultramarine, painted over it apparently with a common house brush, by the picture cleaner.
Not to detain the reader by going through the cities of Italy, I will only further mention, that at Padua, the rain beats through the west window of the Arena chapel, and runs downoverthe frescoes. That at Venice, in September last, I saw three buckets set in the scuola di San Rocco to catch the rain which camethroughthecanvasesof Tintoret on the roof; and that while the old works of art are left thus unprotected, the palaces are being restored in the following modes. The English residents knock out bow windows to see up and down the canal. The Italians paint all themarblewhite or cream color, stucco the fronts, and paint them in blue and white stripes to imitate alabaster. (This has been done with Danieli's hotel, with the north angle of the church of St. Mark, there replacing the real alabasters which have been torn down, with a noble old house in St. Mark's place, and with several in the narrow canals.) The marbles of St. Mark's, and carvings, are beingscrapeddown to make them look bright—the lower arcade of the Doge's palace is whitewashed—the entrance porch is being restored—the operation having already proceeded so far as the knocking off of the heads of the old statues—an iron railing painted black and yellow has been put round the court. Faded tapestries, and lottery tickets (the latter for the benefit of charitable institutions) are exposed for sale in the council chambers.
[5]Hooker, Eccl. Pol. Book I. chap. ii. § 2.
[6]I do not assert that the accidental utility of a theoretic pursuit, as of botany for instance, in any way degrades it, though it cannot be considered as elevating it. But essential utility, a purpose to which the pursuit is in some measure referred, as in architecture, invariably degrades, because then the theoretic part of the art is comparatively lost sight of; and thus architecture takes a level below that of sculpture or painting, even when the powers of mind developed in it are of the same high order.
When we pronounce the name of Giotto, our venerant thoughts are at Assisi and Padua, before they climb the Campanile of Santa Maria del Fiore. And he who would raise the ghost of Michael Angelo, must haunt the Sistine and St. Lorenzo, not St. Peter's.
I proceed therefore first, to examine the nature of what I§ 1. Explanation of the term "theoretic."have called the Theoretic faculty, and to justify my substitution of the term "theoretic" for æsthetic, which is the one commonly employed with reference to it.
Now the term "æsthesis" properly signifies mere sensual perception of the outward qualities and necessary effects of bodies, in which sense only, if we would arrive at any accurate conclusions on this difficult subject, it should always be used. But I wholly deny that the impressions of beauty are in any way sensual,—they are neither sensual nor intellectual, but moral, and for the faculty receiving them, whose difference from mere perception I shall immediately endeavor to explain, no term can be more accurate or convenient than that employed by the Greeks, "theoretic," which I pray permission, therefore, always to use, and to call the operation of the faculty itself, Theoria.
Let us begin at the lowest point, and observe, first, what§ 2. Of the differences of rank in pleasures of sense.differences of dignity may exist between different kinds of æsthetic or sensual pleasure, properly so called.
Now it is evident that the being common to brutes, or peculiar to man, can alone be no rational test of inferiority, or dignity in pleasures. We must not assume that man is the nobler animal, and then deduce the nobleness of his delights; but we must prove the nobleness of the delights, and thence the nobleness of the animal. The dignity of affection is no way lessened because a large measure of it may be found in lower animals, neither is the vileness of gluttony and lust abated because they are common to men. It is clear, therefore, that there is a standardof dignity in the pleasures and passions themselves, by which we also class the creatures capable of, or suffering them.
The first great distinction, we observe, is that noted of Aristotle, that men are called temperate and intemperate with regard to some, and not so with respect to others,§ 3. Use of the terms Temperate and Intemperate.and that those, with respect to which they are so called, are, by common consent, held to be the vilest. But Aristotle, though exquisitely subtle in his notation of facts, does not frequently give us satisfactory account of, or reason for them. Content with stating the fact of these pleasures being held the lowest, he shows not why this estimation of them is just, and confuses the reader by observing casually respecting the higher pleasures, what is indeed true, but appears at first opposed to his own position, namely, that "men may be conceived, as also in these taking pleasure, either rightly, or more or less than is right."[7]Which being so, and evident capability of excess or defect existing in pleasures of this higher order, we ought to have been told how it happens that men are not called intemperate when they indulge in excess of this kind, and what is that difference in the nature of the pleasure which diminishes the criminality of its excess. This let us attempt to ascertain.
Men are held intemperate (ἀκόλαστοι) only when their desires overcome or prevent the action of their reason, and they are indeed intemperate in the exact degree in which such prevention§ 4. Right use of the term "intemperate."or interference takes place, and so are actuallyακόλαστοι, in many instances, and with respect to many resolves, which lower not the world's estimation of their temperance. For so long as it can be supposed that the reason has acted imperfectly owing to its own imperfection, or to the imperfection of the premises submitted to it, (as when men give an inordinate preference to their own pursuits, because they cannot, in the nature of things, have sufficiently experienced the goodness and benefit of others,) and so long as it may be presumed that men have referred to reason in what they do, and have not suffered its orders to be disobeyed through mere impulse and desire, (though those orders may be full of error owing to the reason's own feebleness,) so long menare not held intemperate. But when it is palpably evident that the reason cannot have erred but that its voice has been deadened or disobeyed, and that the reasonable creature has been dragged dead round the walls of his own citadel by mere passion and impulse,—then, and then only, men are of all held intemperate. And this is evidently the case with respect to inordinate indulgence in pleasures of touch and taste, for these, being destructive in their continuance not only of all other pleasures, but of the very sensibilities by which they themselves are received, and as this penalty is actually known and experienced by those indulging in them, so that the reason cannot but pronounce right respecting their perilousness, there is no palliation of the wrong choice; and the man, as utterly incapable of will,[8]is called intemperate, orἀκόλαστος.
It would be well if the reader would for himself follow out this subject, which it would be irrelevant here to pursue farther, observing how a certain degree of intemperance is suspected and attributed to men with respect to higher impulses; as, for instance, in the case of anger, or any other passion criminally indulged, and yet is not so attributed, as in the case of sensual pleasures; because in anger the reason is supposed not to have had time to operate, and to be itself affected by the presence of the passion, which seizes the man involuntarily and before he is aware; whereas, in the case of the sensual pleasures, the act is deliberate, and determined on beforehand, in direct defiance of reason. Nevertheless, if no precaution be taken against immoderate anger, and the passions gain upon the man, so as to be evidently wilful and unrestrained, and admitted contrary to all reason, we begin to look upon him as, in the real sense of the word, intemperate, orάκόλαστος, and assign to him, in consequence, his place among the beasts, as definitely as if he had yielded to the pleasurable temptations of touch or taste.
We see, then, that the primal ground of inferiority in these pleasures§ 5. Grounds of inferiority in the pleasures which are subjects of intemperance.is that whichprovestheir indulgence to be contrary to reason; namely their destructiveness upon prolongation, and their incapability of co-existing continually with other delights or perfections of the system.
And this incapability of continuance directs us to the second cause of their inferiority; namely, that they are given to us as subservient to life, as instruments of our preservation—compelling us to seek the things necessary to our being, and that, therefore, when this their function is fully performed, they ought to have an end; and can be only artificially, and under high penalty, prolonged. But the pleasures of sight and hearing are given as gifts. They answer not any purposes of mere existence, for the distinction of all that is useful or dangerous to us might be made, and often is made, by the eye, without its receiving the slightest pleasure of sight. We might have learned to distinguish fruits and grain from flowers, without having any superior pleasure in the aspect of the latter. And the ear might have learned to distinguish the sounds that communicate ideas, or to recognize intimations of elemental danger without perceiving either music in the voice, or majesty in the thunder. And as these pleasures have no function to perform, so there is no limit to their continuance in the accomplishment of their end, for they are an end in themselves, and so may be perpetual with all of us—being in no way destructive, but rather increasing in exquisiteness by repetition.
Herein, then, we find very sufficient ground for the higher estimation of these delights, first, in their being eternal and inexhaustible, and secondly, in their being evidently no§ 6. Evidence of higher rank in pleasures of sight and hearing.means or instrument of life, but an object of life. Now in whatever is an object of life, in whatever may be infinitely and for itself desired, we may be sure there is something of divine, for God will not make anything an object of life to his creatures which does not point to, or partake of, Himself. And so, though we were to regard the pleasures of sight merely as the highest of sensual pleasures, and though they were of rare occurrence, and, when occurring, isolated and imperfect, there would still be a supernatural character about them, owing to their permanence and self-sufficiency, where no other sensual pleasures are permanent or self-sufficient. But when, instead of being scattered, interrupted, or chance-distributed, they are gathered together, and so arranged to enhance each other as by chance they could not be, there is caused by them not only a feeling of strong affectiontowards the object in which they exist, but a perception of purpose and adaptation of it to our desires; a perception, therefore, of the immediate operation of the Intelligence which so formed us, and so feeds us.
Out of which perception arise joy, admiration, and gratitude.
Now the mere animal consciousness of the pleasantness I call æsthesis; but the exulting, reverent, and grateful perception of it I call theoria. For this, and this only, is the full comprehension and contemplation of the beautiful as a gift of God, a gift not necessary to our being, but added to, and elevating it, and twofold, first of the desire, and secondly of the thing desired.
And that this joyfulness and reverence are a necessary part of theoretic pleasure is very evident when we consider that, by the presence of these feelings, even the lower and more sensual§ 7. How the lower pleasures may be elevated in rank.pleasures may be rendered theoretic. Thus Aristotle has subtly noted, that "we call not men intemperate so much with respect to the scents of roses or herb-perfumes as of ointments and of condiments," (though the reason that he gives for this be futile enough.) For the fact is, that of scents artificially prepared the extreme desire is intemperance, but of natural and God-given scents, which take their part in the harmony and pleasantness of creation, there can hardly be intemperance; not that there is any absolute difference between the two kinds, but that these are likely to be received with gratitude and joyfulness rather than those, so that we despise the seeking of essences and unguents, but not the sowing of violets along our garden banks. But all things may be elevated by affection, as the spikenard of Mary, and in the Song of Solomon, the myrrh upon the handles of the lock, and that of Isaac concerning his son. And the general law for all these pleasures is, that when sought in the abstract and ardently, they are foul things, but when received with thankfulness and with reference to God's glory, they become theoretic; and so I can find something divine in the sweetness of wild fruits, as well as in the pleasantness of the pure air, and the tenderness of its natural perfumes that come and go as they list.
It will be understood why I formerly said in the chapter respecting ideas of beauty, that those ideas were the subject ofmoral and not of intellectual, nor altogether of§ 8. Ideas of beauty how essentially moral.sensual perception; and why I spoke of the pleasures connected with them as derived from "those material sources which are agreeable to our moral nature in its purity and perfection." For, as it is necessary to the existence of an idea of beauty, that the sensual pleasure which may be its basis, should be accompanied first with joy, then with love of the object, then with the perception of kindness in a superior Intelligence, finally with thankfulness and veneration towards that Intelligence itself, and as no idea can be at all considered as in any way an idea of beauty, until it be made up of these emotions, any more than we can be said to have an idea of a letter of which we perceive the perfume and the fair writing, without understanding the contents of it, or intent of it; and as these emotions are in no way resultant from, nor obtainable by, any operation of the intellect, it is evident that the sensation of beauty is not sensual on the one hand, nor is it intellectual on the other, but is dependent on a pure, right, and open state of the heart, both for its truth and for its intensity, insomuch that even the right after action of the intellect upon facts of beauty so apprehended, is dependent on the acuteness of the heart feeling about them; and thus the Apostolic words come true, in this minor respect as in all others, that men are alienated from the life of God, through the ignorance that is in them, having the understanding darkened because of the hardness of their hearts, and so being past feeling, give themselves up to lasciviousness; for we do indeed see constantly that men having naturally acute perceptions of the beautiful, yet not receiving it with a pure heart, nor into their hearts at all, never comprehend it, nor receive good from it, but make it a mere minister to their desires, and accompaniment and seasoning of lower sensual pleasures, until all their emotions take the same earthly stamp, and the sense of beauty sinks into the servant of lust.
Nor is what the world commonly understands by the§ 9. How degraded by heartless reception.cultivation of taste, anything more or better than this, at least in times of corrupt and over-pampered civilization, when men build palaces and plant groves and gather luxuries, that they and their devices may hangin the corners of the world like fine-spun cobwebs, with greedy, puffed-up, spider-like lusts in the middle. And this, which in Christian times is the abuse and corruption of the sense of beauty, was in that Pagan life of which St. Paul speaks, little less than the essence of it, and the best they had; for I know not that of the expressions of affection towards external nature to be found among Heathen writers, there are any of which the balance and leading thought cleaves not towards the sensual parts of her. Her beneficence they sought, and her power they shunned, her teaching through both, they understood never. The pleasant influences of soft winds and ringing streamlets, and shady coverts; of the violet couch, and plane-tree shade,[9]they received, perhaps, in a more noble way than we, but they found not anything except fear, upon the bare mountain, or in the ghostly glen. The Hybla heather they loved§ 10. How exalted by affection.more for its sweet hives than its purple hues. But the Christian theoria seeks not, though it accepts, and touches with its own purity, what the Epicurean sought, but finds its food and the objects of its love everywhere, in what is harsh and fearful, as well as what is kind, nay, even in all that seems coarse and commonplace; seizing that which is good, and delighting more sometimes at finding its table spread in strange places, and in the presence of its enemies, and its honey coming out of the rock, than if all were harmonized into a less wondrous pleasure; hating only what is self-sighted and insolent of men's work, despising all that is not of God, unless reminding it of God, yet able to find evidence of him still, where all seems forgetful of him, and to turn that into a witness of his working which was meant to obscure it, and so with clear and unoffended sight beholding him forever, according to the written promise,—Blessed are the pure in heart, for they shall see God.
[7]ώς δεί, καί καθ' ύπερβολήν καί έλλειψιν.[8]Comp. Hooker, Eccl. Pol. Book i. chap. 8.[9]Plato, Phædrus, § 9.
[7]ώς δεί, καί καθ' ύπερβολήν καί έλλειψιν.
[8]Comp. Hooker, Eccl. Pol. Book i. chap. 8.
[9]Plato, Phædrus, § 9.
Hitherto we have observed only the distinctions§ 1. By what test is the health of the perceptive faculty to be determined?of dignity among pleasures of sense, considered merely as such, and the way in which any of them may become theoretic in being received with right feeling.
But as we go farther, and examine the distinctive nature of ideas of beauty, we shall, I believe, perceive something in them besides æsthetic pleasure, which attests a more important function belonging to them than attaches to other sensual ideas, and exhibits a more exalted character in the faculty by which they are received. And this was what I alluded to, when I said in the chapter already referred to (§ 1), that "we may indeed perceive, as far as we are acquainted with the nature of God, that we have been so constructed as in a healthy state of mind to derive pleasure from whatever things are illustrative of that nature."
This point it is necessary now farther to develop.
Our first inquiry must evidently be, how we are authorized to affirm of any man's mind, respecting impressions of sight, that it is in a healthy state or otherwise. What canon or test is there by which we may determine of these impressions that they are or are notrightlyesteemed beautiful? To what authority, when men are at variance with each other on this subject, shall it be deputed to judge which is right? or is there any such authority or canon at all?
For it does not at first appear easy to prove that men ought to like one thing rather than another, and although this is granted generally by men's speaking of bad or good taste, it is frequently denied when we pass to particulars, by the assertion of each individual that he has a right to his opinion—a right which is sometimes claimed even in moral matters, though thenpalpably without foundation, but which does not appear altogether irrational in matters æsthetic, wherein little operation of voluntary choice is supposed possible. It would appear strange, for instance, to assert, respecting a particular person who preferred the scent of violets to roses, that he had no right to do so. And yet, while I have said that the sensation of beauty is intuitive and necessary, as men derive pleasure from the scent of a rose, I have assumed that there are some sources from which it is rightly derived, and others from which it is wrongly derived, in other words that men have no right to think some things beautiful, and no right to remain apathetic with regard to others.
Hence then arise two questions, according to the sense in which the word right is taken; the first, in what way an§ 2. And in what sense may the terms Right and Wrong be attached to its conclusions?impression of sense may be deceptive, and therefore a conclusion respecting it untrue; and the second, in what way an impression of sense, or the preference of one, may be a subject of will, and therefore of moral duty or delinquency.
To the first of these questions, I answer that we cannot speak of the immediate impression of sense as false, nor of its preference to others as mistaken, for no one can be deceived respecting the actual sensation he perceives or prefers. But falsity may attach to his assertion or supposition, either that what he himself perceives is from the same object perceived by others, or is always to be by himself perceived, or is always to be by himself preferred; and when we speak of a man as wrong in his impressions of sense, we either mean that he feels differently from all, or a majority, respecting a certain object, or that he prefers at present those of his impressions, which ultimately he will not prefer.
To the second I answer, that over immediate impressions and immediate preferences we have no power, but over ultimate impressions, and especially ultimate preferences we have; and that, though we can neither at once choose whether we shall see an object, red, green, or blue, nor determine to like the red better than the blue, or the blue better than the red, yet we can, if we choose, make ourselves ultimately susceptible of such impressions in other degrees, and capable of pleasures in them in differentmeasure; and because, wherever power of any kind is given, there is responsibility attached, it is the duty of men to prefer certain impressions of sense to others, because they have the power of doing so, this being precisely analogous to the law of the moral world, whereby men are supposed not only capable of governing their likes and dislikes, but the whole culpability or propriety of actions is dependent upon this capability, so that men are guilty or otherwise, not for what they do, but for what they desire, the command being not, thou shalt obey, but thou shalt love, the Lord thy God, which, if men were not capable of governing and directing their affections, would be the command of an impossibility.
I assert, therefore, that even with respect to impressions§ 3. What power we have over impressions of sense.of sense, we have a power of preference, and a corresponding duty, and I shall show first the nature of the power, and afterwards the nature of the duty.
Let us take an instance from one of the lowest of the senses, and observe the kind of power we have over the impressions of lingual taste. On the first offering of two different things to the palate, it is not in our power to prevent or command the instinctive preference. One will be unavoidably and helplessly preferred to the other. But if the same two things be submitted to judgment frequently and attentively, it will be often found that their relations change. The palate, which at first perceived only the coarse and violent qualities of either, will, as it becomes more experienced, acquire greater subtilty and delicacy of discrimination, perceiving in both agreeable or disagreeable qualities at first unnoticed, which on continued experience will probably become more influential than the first impressions; and whatever this final verdict may be, it is felt by the person who gives it, and received by others as a more correct one than the first.
So, then, the power we have over the preference of impressions of taste is not actual nor immediate, but only a power of testing and comparing them frequently and carefully,§ 4. Depends on acuteness of attention.until that which is the more permanent, the more consistently agreeable, be determined. But when the instrument of taste is thus in some degree perfected and rendered subtile, by its being practised upon a singleobject, its conclusions will be more rapid with respect to others, and it will be able to distinguish more quickly in other things, and even to prefer at once, those qualities which are calculated finally to give it most pleasure, though more capable with respect to those on which it is more frequently exercised; whence people are called judges with respect to this or that particular object of taste.
Now that verdicts of this kind are received as authoritative by others, proves another and more important fact, namely, that not only changes of opinion take place in§ 5. Ultimate conclusions universal.consequence of experience, but that those changes are from variation of opinion to unity of opinion; and that whatever may be the differences of estimate among unpractised or uncultivated tastes, there will be unity of taste among the experienced. And that therefore the operation of repeated trial and experience is to arrive at principles of preference in some sort common to all, and which are a part of our nature.
I have selected the sense of taste for an instance, because it is the least favorable to the position I hold, since there is more latitude allowed, and more actual variety of verdict in the case of this sense than of any other; and yet, however susceptible of variety even the ultimate approximations of its preferences may be, the authority of judges is distinctly allowed, and we hear every day the admission, by those of unpractised palate, that they are, or may be wrong in their opinions respecting the real pleasurableness of things either to themselves, or to others.
The sense, however, in which they thus use the word "wrong" is merely that of falseness or inaccuracy in§ 6. What duty is attached to this power over impressions of sense.conclusion, not of moral delinquency. But there is, as I have stated, a duty, more or less imperative, attached to every power we possess, and therefore to this power over the lower senses as well as to all others.
And this duty is evidently to bring every sense into that state of cultivation, in which it shall both form the truest conclusions respecting all that is submitted to it, and procure us the greatest amount of pleasure consistent with its due relation to other senses and functions. Which three constituents of perfection in sense, true judgment, maximum sensibility, and rightrelation to others, are invariably co-existent and involved one by the other, for the true judgment is the result of the high sensibility, and the high sensibility of the right relation. Thus, for instance, with respect to pleasures of taste, it is our duty not to devote such inordinate attention to the discrimination of them as must be inconsistent with our pursuit, and destructive of our capacity of higher and preferable pleasures, but to cultivate the sense of them in that way which is consistent with all other good, by temperance, namely, and by such attention as the mind at certain resting moments may fitly pay even to so ignoble a source of pleasure as this, by which discipline we shall bring the faculty of taste itself to its real maximum of sensibility; for it may not be doubted but that health, hunger, and such general refinement of bodily habits as shall make the body a perfect and fine instrument in all respects, are better promoters of actual sensual enjoyment of taste, than the sickened, sluggish, hard-stimulated fastidiousness of Epicurism.
So also it will certainly be found with all the senses, that they individually receive the greatest and purest pleasure when they are in right condition and degree of§ 7. How rewarded.subordination to all the rest; and that by the over cultivation of any one, (for morbid sources of pleasure and correspondent temptations to irrational indulgence, confessedly are attached to all,) we shall add more to their power as instruments of punishment than of pleasure.
We see then, in this example of the lowest sense, that the power we have over sensations and preferences depends mainly on the exercise of attention through certain prolonged periods, and that by this exercise, we arrive at ultimate, constant, and common sources of agreeableness, casting off those which are external, accidental, and individual.
That then which is required in order to the attainment of accurate conclusions respecting the essence of the beautiful, is nothing more than earnest, loving, and unselfish§ 8. Especially with respect to ideas of beauty.attention to our impressions of it, by which those which are shallow, false, or peculiar to times and temperaments, may be distinguished from those that are eternal. And this dwelling upon, and fond contemplation of them, (the anschauung of the Germans,) is perhaps as much as was meantby the Greek theoria; and it is indeed a very noble exercise of the souls of men, and one by which they are peculiarly distinguished from the anima of lower creatures, which cannot, I think, be proved to have any capacity of contemplation at all, but only a restless vividness of perception and conception, the "fancy" of Hooker (Eccl. Pol. Book i. Chap. vi. 2). And yet this dwelling upon them comes not up to that which I wish to express by the word theoria, unless it be accompanied by full perception of their being a gift from and manifestation of God, and by all those other nobler emotions before described, since not until so felt is their essential nature comprehended.
But two very important points are to be observed respecting the direction and discipline of the attention in the early stages of judgment.§ 9. Errors induced by the power of habit.The first, that, for many beneficent purposes, the nature of man has been made reconcilable by custom to many things naturally painful to it, and even improper for it, and that therefore, though by continued experience, united with thought, we may discover that which is best of several, yet if we submit ourselves to authority or fashion, and close our eyes, we may be by custom made to tolerate, and even to love and long for, that which is naturally painful and pernicious to us, whence arise incalculable embarrassments on the subject of art.
The second, that, in order to the discovery of that which is best of two things, it is necessary that both should be equally submitted to the§ 10. The necessity of submission in early stages of judgment.attention; and therefore that we should have so much faith in authority as shall make us repeatedly observe and attend to that which is said to be right, even though at present we may not feel it so. And in the right mingling of this faith with the openness of heart, which proves all things, lies the great difficulty of the cultivation of the taste, as far as the spirit of the scholar is concerned, though even when he has this spirit, he may be long retarded by having evil examples submitted to him by ignorant masters.
The temper, therefore, by which right taste is formed, is first, patient. It dwells upon what is submitted to it, it does not trample upon it lest it should be pearls, even though it look like husks, it is a good ground, soft, penetrable, retentive, itdoes not send up thorns of unkind thoughts, to choke the weak seed, it is hungry and thirsty too, and drinks all the dew that falls on it, it is an honest and good heart, that shows no too ready springing before the sun be up, but fails not afterwards; it is distrustful of itself, so as to be ready to believe and to try all things, and yet so trustful of itself, that it will neither quit what it has tried, nor take anything without trying. And that pleasure which it has in things that it finds true and good, is so great that it cannot possibly be led aside by any tricks of fashion, nor diseases of vanity, it cannot be cramped in its conclusions by partialities and hypocrisies, its visions and its delights are too penetrating, too living, for any whitewashed object or shallow fountain long to endure or supply. It clasps all that it loves so hard, that it crushes it if it be hollow.
Now, the conclusions of this disposition are sure to be eventually right, more and more right according to the general maturity of all the§ 11. The large scope of matured judgment.powers, but it is sure to come right at last, because its operation is in analogy to, and in harmony with, the whole spirit of the Christian moral system, and that which it will ultimately love and rest in, are great sources of happiness common to all the human race, and based on the relations they hold to their Creator.
These common and general sources of pleasure are, I believe, a certain seal, or impress of divine work and character, upon whatever God has wrought in all the world; only, it being necessary for the perception of them, that their contraries should also be set before us, these divine qualities, though inseparable from all divine works, are yet suffered to exist in such varieties of degree, that their most limited manifestation shall, in opposition to their most abundant, act as a foil or contrary, just as we conceive of cold as contrary to heat, though the most extreme cold we can produce or conceive is not inconsistent with an unknown amount of heat in the body.
Our purity of taste, therefore, is best tested by its universality, for if we can only admire this thing or that, we may be sure that our cause§ 12. How distinguishable from false taste.for liking is of a finite and false nature. But if we can perceive beauty in everything of God's doing, we may argue that we have reached the true perception of its universal laws. Hence, falsetaste may be known by its fastidiousness, by its demands of pomp, splendor, and unusual combination, by its enjoyment only of particular styles and modes of things, and by its pride also, for it is forever meddling, mending, accumulating, and self-exulting, its eye is always upon itself, and it tests all things around it by the way they fit it. But true taste is forever growing, learning, reading, worshipping, laying its hand upon its mouth because it is astonished, casting its shoes from off its feet because it finds all ground holy, lamenting over itself and testing itself by the way that it fits things. And it finds whereof to feed, and whereby to grow, in all things, and therefore the complaint so often made by young artists that they have not within their reach materials, or subjects enough for their fancy, is utterly groundless, and the sign only of their own blindness and inefficiency; for there is that to be seen in every street and lane of every city, that to be felt and found in every human heart and countenance, that to be loved in every road-side weed and moss-grown wall, which in the hands of faithful men, may convey emotions of glory and sublimity continual and exalted.
Let therefore the young artist beware of the spirit of choice,[10]it is an insolent spirit at the best and commonly a base and blind one too,§ 13. The danger of a spirit of choice.checking all progress and blasting all power, encouraging weaknesses, pampering partialities, and teaching us to look to accidents of nature for the help and the joy which should come from our own hearts. He draws nothing well who thirsts not to draweverything; when a good painter shrinks, it is because he is humbled, not fastidious, when he stops, it is because he is surfeited, and not because he thinks nature has given him unkindly food, or that he fears famine.[11]I have seen a man of true taste pause for a quarter of an hour to look at the channellings that recent rain had traced in a heap of cinders.
And here is evident another reason of that duty which we owe respecting impressions of sight, namely, to discipline ourselvesto the§ 14. And criminality.enjoyment of those which are eternal in their nature, not only because these are the most acute, but because they are the most easily, constantly, and unselfishly attainable. For had it been ordained by the Almighty that the highest pleasures of sight should be those of most difficult attainment, and that to arrive at them it should be necessary to accumulate gilded palaces tower over tower, and pile artificial mountains around insinuated lakes, there would have been a direct contradiction between the unselfish duties and inherent desires of every individual. But no such contradiction exists in the system of Divine Providence, which, leaving it open to us, if we will, as creatures in probation, to abuse this sense like every other, and pamper it with selfish and thoughtless vanities as we pamper the palate with deadly meats, until the appetite of tasteful cruelty is lost in its sickened satiety, incapable of pleasure unless, Caligula like, it concentrate the labor of a million of lives into the sensation of an hour, leaves it also open to us, by humble and loving ways, to make ourselves susceptible of deep delight from the meanest objects of creation, and of a delight which shall not separate us from our fellows, nor require the sacrifice of any duty or occupation, but which shall bind us closer to men and to God, and be with us always, harmonized with every action, consistent with every claim, unchanging and eternal.
Seeing then that these qualities of material objects which are calculated to give us this universal pleasure, are demonstrably constant§ 15. How certain conclusions respecting beauty are by reason demonstrable.in their address to human nature, they must belong in some measure to whatever has been esteemed beautiful throughout successive ages of the world (and they are also by their definition common to all the works of God). Therefore it is evident that it must be possible to reason them out, as well as to feel them out; possible to divest every object of that which makes it accidentally or temporarily pleasant, and to strip it bare of distinctive qualities, until we arrive at those which it has in common with all other beautiful things, which we may then safely affirm to be the cause of its ultimate and true delightfulness.
Now this process of reasoning will be that which I shallendeavor to employ in the succeeding investigations, a process perfectly§ 16. With what liabilities to error.safe, so long as we are quite sure that we are reasoning concerning objects which produce in us one and the same sensation, but not safe if the sensation produced be of a different nature, though it may be equally agreeable; for what produces a different sensation must be a different cause. And the difficulty of reasoning respecting beauty arises chiefly from the ambiguity of the word, which stands in different people's minds for totally different sensations, for which there can be no common cause.
When, for instance, Mr. Alison endeavors to support his position that "no man is sensible to beauty in those objects with regard to which he has not previous ideas," by the remark that "the beauty of a theory, or of a relic of antiquity, is unintelligible to a peasant," we see at once that it is hopeless to argue with a man who, under his general term beauty, may, for anything we know, be sometimes speaking of mathematical demonstrability and sometimes of historical interest; while even if we could succeed in limiting the term to the sense of external attractiveness, there would be still room for many phases of error; for though the beauty of a snowy mountain and of a human cheek or forehead, so far as both are considered as mere matter, is the same, and traceable to certain qualities of color and line, common to both, and by reason extricable, yet the flush of the cheek and moulding of the brow, as they express modesty, affection, or intellect, possess sources of agreeableness which are not common to the snowy mountain, and the interference of whose influence we must be cautious to prevent in our examination of those which are material and universal.[12]
The first thing, then, that we have to do, is accurately to discriminate§ 17. The term "beauty" how limitable in the outset. Divided into typical and vital.and define those appearances from which we are about to reason as belonging to beauty, properly so called, and to clear the ground of all the confused ideas and erroneous theories with which the misapprehension or metaphorical use of the term has encumbered it.
By the term beauty, then, properly are signified two things. First, that external quality of bodies already so often spoken of, and which, whether it occur in a stone, flower, beast, or in man, is absolutely identical, which, as I have already asserted, may be shown to be in some sort typical of the Divine attributes, and which, therefore, I shall, for distinction's sake, call typical beauty; and, secondarily, the appearance of felicitous fulfilment of function in living things, more especially of the joyful and right exertion of perfect life in man. And this kind of beauty I shall call vital beauty.
Any application of the word beautiful to other appearances or qualities than these, is either false or metaphorical, as, for instance, to the splendor of a discovery, the fitness of a proportion, the coherence of a chain of reasoning, or the power of bestowing pleasure which objects receive from association, a power confessedly great, and interfering, as we shall presently find, in a most embarrassing way with the attractiveness of inherent beauty.
But in order that the mind of the reader may not be biassed at the outset by that which he may happen to have received of current theories respecting beauty, founded on the above metaphorical uses of the word, (theories which are less to be reprobated as accounting falsely for the sensations of which they treat, than as confusing two or more pleasurable sensations together,) I shall briefly glance at the four erroneous positions most frequently held upon this subject, before proceeding to examine those typical and vital properties of things, to which I conceive that all our original conceptions of beauty may be traced.