The main thing, then, in a picture is that it present to us a situation, the scene of some action. And closely associated with this we have the primary law ofintelligibility.In this respect religious subjects possess the supreme advantage, that they are universally known. The annunciation of the angel, the adoration of the shepherds or of the three kings, the repose in the flight to Egypt, the crucifixion, burial, resurrection, no less than the legends of the saints, were well known subjects with the public, for whom such pictures were painted, albeit to our own generation the stories of the martyrs are removed to some distance. For a particular church, for example, it was mainly the biography of its patrons or its guardian saints which was represented. Consequently it was not always the painters themselves who selected such subjects; particular circumstances rendered such selection inevitable for particular altars, chapels, and cloisters, so that the place where they are exhibited in itself contributes to their elucidation. And this is, in part, necessary, for in painting we do not find speech, words, and names, by which interpretation of poetry may be materially assisted to say nothing of all its other means. And in the same way in a royal residence, council-hall, or parliament-building, scenes of great events, important situations taken from the history of the state, city, and building in which they are found are there, and receive a just recognition in the place for which they were originally painted. It is hardly likely, for instance, that in painting a picture for oneof our palaces an artist would select a subject borrowed from English or Chinese history, or from the life of King Mithridates. It is otherwise in picture galleries, where we have all kinds of subjects brought together that we could wish to buy or possess as examples of fine works of art. In such a case, of course, the peculiar relation of any picture to a definite locale, no less than its intelligibility, so far as it is thereby promoted, disappears. The same thing is true of the private collection. The collector brings together just what he can get; the principle is that of a public gallery, and his love of art or caprice may extend in other directions.
Allegorical pictures are far inferior to those of historical content in the matter of intelligibility; they are, moreover, for the reason that the ideal vitality and emphatic characterization of the figures must in great measure pass out of them, indefinite, and not motive to enthusiasm. Landscapes and situations borrowed from the reality of daily life, are, on the contrary, no less clear in their substantial import than, in respect to their characterization, dramatic variety, movement and wealth of existence, they supply a highly favourable opportunity for inventive power and executive ability.
(ββ) To render the defined situation of a picture intelligible, in so far as the artist is called upon to do this, the mere fact of its local place of exposition and a general knowledge of its subject will not suffice. As a general rule, these are purely external relations, under which the work as a work of art is less affected. The main point of real importance consists, on the contrary, in this that the artist be sufficiently endowed in artistic sense and general talent to bring into prominence and give form to the varied motives, which such a situation contains, with all the bounty of invention. Every action, in which the ideal world is manifested in that which is external, possesses immediate modes of expression, sensuous results and relations, which, in so far as they are actually the activities of spirit, betray and reflect its emotion, and consequently can be utilized with the greatest advantage as motives which contribute to the intelligibility of the work no less than its individual character. It is, for example, a frequent criticism of the Transfigurationpicture of Raphael, that the composition is cut up into two unrelated parts; and this from anobjectivestandpoint is the case. We have the transfiguration on the hill and the incident of the possessed child in the foreground. From an ideal[315]point of view, however, an association of supreme significance is undoubtedly present. For, on the one hand, the sensuous transfiguration of Christ is just this very exaltation of himself above the earth and his removal from his disciples, a removal which as such separation ought to be made visible; and from a further point of view the majesty of Christ is in this, an actual and particular case, to the highest degree emphasized by the fact that the disciples are unable to heal the possessed child without the assistance of their Master. In this instance, therefore, this twofold action is throughout motived, and the association is enforced before our eyes, both in its external and ideal aspect, by the incident that a disciple expressly points to Christ who is removed from them, and in doing so suggests the profounder truth of the Son of God to be at the same time on Earth, in accordance with the truth of that saying, "If two are gathered together in my name I am in the midst of them." I will give yet another illustration. Goethe on one occasion gave as a subject for a prize exhibition the representation of Achilles in female garments at the coming of Odysseus. In one drawing Achilles glances at the helmet of the armed hero, his heart fires up at the sight, and in consequence of this emotion the pearl necklace is broken which he wears round the neck. A lad seeks for and picks up the pieces from the ground. Such is an example of admirable motive.
Moreover, the artist finds he has to a more or less extent large spaces to fill in; he requires landscape as background, lighting, architectonic surrounding, and he has to introduce incidental figures and objects and so forth. All this material he should apply, in so far as it can be so adapted, as motives in the situation, and bring this external matter into unity with his subject in such a way that it is no longer insignificant. Two princes or patriarchs shake hands. Ifthis is indicative of a peace treaty, and the seal upon the same, warriors, armed bands, and the like, preparations for a sacrifice to solemnize the pact, will be an obviously fitting environment. If such people happen to meet each other with a similar welcome on a journey, other motives will be necessary. To invent the same in a way that attaches real significance and individualization to the action, this it is which more than anything else will test the artistic insight of the painter so far as this aspect of his work is concerned. And in order to promote this not a few artists have also attached symbolical relations between background and the main action. In the composition, for example, of the Adoration of the three Kings, we not unfrequently find the holy Infant in His cradle beneath a ruined roof, around Him the walls of a building falling in decay, and in the background the commencement of a cathedral. The falling stone-work and the rising cathedral directly suggest the victory of the Christian church over paganism[316]. In the same way we find, not unfrequently, in pictures, more especially of the Van Eyck school, which depict the greeting of the angel Gabriel to Mary, flowering lilies like stamens. They indicate the maidenhood of the mother of God.
(γγ) Inasmuch as in thethirdplace the art of painting, by virtue of the principle of ideal and external variety, in which it is bound to give clear definition to situations, events, conflicts, and actions, is forced to deal on its way with many kinds of distinction and contradiction in its subject-matter, whether purely natural objects or human figures, and, moreover, receives the task to subdivide this composite content, and create of it one harmonious whole, a way of posing andgroupingits figures artistically, becomes one of the most important and necessary claims made upon it. Among the crowd of particular rules and definitions, however, which are applicable to this subject, what we are able to affirm in its most general terms can only be valid in quite a formal way, and I will merely draw attention shortly to a few of the main points.
The earliest mode of composition still remains entirelyarchitectonic, a homogeneous juxtaposition of figures or a regular opposition and symmetrical arrangement, not merely of the figures themselves, but also their posture and movements. We may add that at this stage the pyramidal form of grouping is much in favour. When the subject is the Crucifixion of our Lord such shapes follow as a matter of course. Christ is suspended on high from the cross, and at the sides we have a group of the disciples, Mary the mother, or saints. In pictures of the Madonna also, in which Mary is seated with her Child on a raised throne, and we find adoring apostles, martyrs, and so forth, beneath them on either side we have a further illustration of this form. Even in the Sistine Madonna picture this mode of grouping is still in its fundamental features retained. And, generally, it brings repose to the eye because the pyramids, by virtue of its apex, makes the otherwise dispersed association coherent, giving an external point of unity to the group[317].
Within the limits, however, of such a generally abstract symmetrical composition, the pose of the figures may be marked in detail by great vividness and individuality, and equally the general expression and movement. The artist, while using in combination the means of his art, will have his several planes, whereby he is able more definitely to emphasize the more important figures as against the others; and he can in addition avail himself of his scheme of lighting and colour. The way he will arrange his groups to arrive at this result is sufficiently obvious. He will not, of course, place his main figures at the sides, or place subordinate ones in positions which are likely to attract the highest attention. And similarly he will throw the strongest light on objects which are part of the most significant content, rather than leave them in shadow, and emphasize with such strong light and the most conspicuous tints objects which are incidental.
In the case he adopts a method of grouping less symmetrical, and thereby more life-like, the artist will have to take especial pains not to make the figures press too closelyon each other, which results in a confusion not unfrequently noticeable in certain pictures; we should not be under the necessity of having first to identify limbs and discover which belong to which, whether they be arms, legs, or other properties, such as drapery, armour, and so forth. It will, on the contrary, be wisest in the case of larger compositions, in the first instance no doubt, to separate the whole into component parts easily ascertained, but, at the same time, not to isolate them in dispersion entirely. And particularly will this be advisable where we have scenes and situations, which on their own account naturally tend to a broad and disunited effect such as the gathering of manna in the wilderness, market-fairs, and similar subjects.
On the above subject I must restrict myself here to these very general observations.
(γ) Having thus,firstly, dealt with the general types of pictorial composition, and,secondly, with a composition from the point of view of selection of situations, arrangement of motives and grouping, we will now add a few remarks upon the mode ofcharacterization, by means of which painting is to be distinguished from sculpture and its ideal plastic character.
(αα) I have several times previously taken occasion to remark, that in painting the ideal and externalparticularityof soul-life is admitted in its freedom, and consequently is not necessarily that typical beauty of individualization which is inseparable from the Ideal itself, but one which is suffered to expand in every direction of particular appearance, by virtue of which we obtain that which in modern parlance is calledcharacteristic.Critics have generally referred to "the characteristic" thus understood as the distinctive mark of modern art in its contrast to the antique; and, in the significance we are here attaching to the term, no doubt the above contrast is just. According to our modern criterion Zeus, Apollo, Diana, and the rest are really not characters at all in this sense, although we cannot fail to admire their infinitely lofty, plastic, and ideal individualities. We already find a more articulate individualization is approached by the Homeric Achilles, the Agamemnon and Clytemnestra of Aeschylus[318], or the Odysseus, Antigone, and Ismene inthe type of spiritual development which by word and deed Sophocles unfolds to us, a definition in which these figures subsist in what appears to be consonant with their substantive nature, so that we can no doubt discover the presentment of character in the antique if we are prepared to call such creations characters. Still in Agamemnon, Ajax, Odysseus, and the rest, the individualization remains throughout of a generalized type, the character of a prince, of frantic rage, of cunning in its more abstract determinacy. The individual aspect is in the result closely intertwined with the general conception, and the character is merged in an individualization of ideal import. The art of painting, on the contrary, which does not restrain particularity within the limits of such ideality, is more than anything else occupied with developing the entire variety of that aspect of particularization which is accidental, so that what we have now set before us, instead of those plastic ideals of gods and men, isparticular peopleviewed in all the varied appearance of their accidental qualities. Consequently perfection of corporeal form, and the fully realized consonancy of the spiritual or ideal aspect with its free and sane existence, in a word, all that in sculpture we referred to as ideal beauty, in the art of painting neither make the same claim upon us, nor generally are regarded as the matter of most importance, inasmuch as now it is the ideality of soul-life itself, and its manifestation as conscious life which forms the centre of interest. In this more ideal sphere that realm of Nature is not so profoundly insistent. Piety of heart, religion of soul can, no less than ethical sense, and activity in fact did in the Silenus face of Socrates, find a dwelling in a bodily form which, viewed on the outside simply, is ugly and distorted. No doubt in expressing spiritual beauty, the artist will avoid what is essentially ugly in external form, or will find a way to subdue and illumine it in the power of the soul which breaks through it, but he cannot for all that entirely dispense with ugliness[319]. For the content of painting, as wehave above depicted it at length, includes within itself an aspect, for which it is precisely the abnormal and distorted traits of human figures and physiognomy, which are most able to express. This is no other than the sphere of what is bad and evil, which in religious subjects we find mainly represented by the common soldiers, who take a part in the passion of Christ, or by the sinners and devils in hell. Michelangelo was pre-eminent in his delineation of devils. In his imaginative realization, though we find he passes beyond the scale of ordinary human life, yet at the same time an affinity with it is retained. However much notwithstanding the impersonations which painting sets before us necessarily disclose an essentially complete whole of characteristic realization, we will not go so far as to maintain that we cannot find in them an analogue of that which we refer to as the Ideal in the most plastic type of art[320]. In religious subjects, no doubt, the feature of all importance is that of pure Love. This is exceptionally so in the case of the Virgin mother, whose entire life reposes in this love; it is more or less the same thing with the women who accompany the Master, and with John, the disciple of Love. In the expression of this we may also find the sensuous beauty of forms associated, as is the case with Raphael's conceptions. Such a close affinity must not, however, assert itself merely as formal beauty, but must be spiritually made vital through the most intimate expression of soul-life, and thereby transfigured; and this spiritual penetration must make itself felt as the real object and content. The conception, too, of beauty, has its real opportunity in the stories of Christ's childhood and those of John the Baptist. In the case of the other historical persons, whether apostles, saints, disciples, or wise men of antiquity, this expression of an emphasized intensity of soul-life is rather simply an affair of particular critical situations, apart from which they are mainly placed before us as independent characters of the actual world of experience, endowed with force and endurance of courage, faith and action, so that what most determines the gist of their characters in all its variety is an earnest and worthy manliness. They are not ideals of gods, but entirely individualized human ideals; not simply men,as they ought to be, but human ideals[321], as they actually are in a certain place, to which neither particular definition of character is wanting, nor yet a real association between such particularity and the universal type which completes them. Michelangelo, Raphael and Leonardo da Vinci, in his famous Last Supper, have supplied examples of this type, in the composition of which we find an entirely different quality of worth, majesty and nobility present than in those presented by other painters[322]. This is precisely the point at which painting meets on the same ground with the ancients, without, however, sacrificing the character of its own province.
(ββ) Inasmuch, moreover, as the art of painting, to the fullest extent among the plastic arts, acknowledges the claim of the specific form, and the individualized characterization to assert itself, so above all we find here the transition to realportraiture.We should be therefore wholly in the wrong if we condemned portrait painting as incompatible with the lofty aims of art. Who indeed could desire to lose the great number of excellent portraits painted by the great masters? Who is not, quite apart from the artistic merits of such works, curious to have definitely substantiated to their vision this actual counterfeit of the idea of famous personalities, their genius, and their exploits, which they may have otherwise had to accept from history. For even the greatest and most highly placed man was, or is, a veritable individual, and we desire to see in visible shape this individuality, and the spiritual impression of it in all its most actual and vital characteristics. But apart from objects, which lie outside the purview of art, we may assert in a real sense, that the advances in painting from its imperfect essays consist in nothing so much as this very elaboration of theportrait.It was, in the first instance, the pious and devotional sense which brought into prominence the ideal life of soul. A yet finer art added new life to this sense by adding to its product reality of expression and individual existence; and with this profounder penetration into external fact the inwardlife of spirit, the expression of which was its main object, was also enhanced and deepened. In order, however, that the portrait should be a genuine work of art the unity of the spiritual individuality must, as I have already stated, be stamped upon it, and the spiritual impression of the characterization must be the one mainly emphasized and made prominent. Every feature of the countenance contributes to this result in a conspicuous degree, and the fine instinct for detecting such in the artist will declare itself by the way in which he makes visible the unique impression of any personality by seizing and emphasizing precisely those traits, and parts in which this distinctive personal quality is expressed in its clearest and most vitally pregnant embodiment. In this respect a portrait may be very true to Nature, executed with the greatest perseverance, and yet entirely devoid of life, while a mere sketch[323], a few outlines from the hand of a master, may be infinitely more vivacious and arresting in its truth. Such a study should, however, by indicating the lines or features of real significance, reflect that character in its structural completeness[324], if on the simplest scale, which the previous lifeless execution and insistence upon crude fact glosses over and renders invisible. The most advisable course, as a rule, is to maintain a happy mean between such studies, and purely natural imitation. The masterly portraits of Titian are of this type. The impression such make on us is that of a complete personality. We get from them an idea of spiritual vitality, such as actual experience is unable to supply. The effect is similar to that afforded by the description of great actions and events in the hands of a truly artistic historian. We obtain from such a much loftier and vitally true picture of the facts than any we could have taken from the direct evidence of our senses. Concrete reality is so overburdened with the phenomenal, that is incidental or accidental detail, that we frequently cannot see the forest for the trees, and often the most important fact slips by us as a thing of common or daily occurrence. It is the indwelling insight and genius of the writer which first adds the quality of greatness to events or actions, presenting them fully in a truly historical composition, whichrejects what is purely external, and only brings into prominence that through which that ideal substance is vitally unfolded. In this way, too, the painter should place before us the mind[325]and character of the impersonation by means of his art. If success is fully attained we may affirm that a portrait of this qualify is more to the mark, more like the personality thus conceived than the real man himself is. Albrecht Dürer has also executed portraits of this character. With a few technical means the traits are emphasized with such simplicity, definition, and dignity, that we wholly believe ourselves to be facing spiritual life itself. The longer we look at such a picture, the more profoundly we penetrate into it, the more it is revealed to us. It reminds one of a clear-cut drawing, instinct with genius, which completely gives expression to the characteristic, and for the rest is merely executive in its colour and outlines in so far as the same may make the characterization more intelligible, apparent, and finished as a whole, without entering into all the importunate detail of the facts of natural life. In the same way also Nature in her landscape paints every leaf, branch, and blade to the last shadow of a line or tint. Landscape painting, on the contrary, has no business to attempt such elaboration, but may only follow her subject to a principle of treatment, in which the expression of the whole is involved, which emphasizes detail, but nevertheless does not copy slavishly such particulars in all their threads, irregularities and so forth, assuming it is to remain essentially characteristic and individual work. In the human face the drawing ofNatureis the framework of bone in its harsh lines, around which the softer ones are disposed and continue in various accidental details. Truly characteristicportraiture, however, despite all the importance we may rightly attach to these well defined lines, consists in other traits indicated with equal force, the countenance in short aselaborated by the creative artist.[326]In this sense we may sayof the portrait that it not only can, but that it ought to flatter, inasmuch as it neglects what pertains to Nature's contingency, and only accepts that which contributes to the characteristic content of the individual portrayed, his most unique and most intimate self. Nowadays we find it the fashion to give every kind of face just a ripple of a smile, to emphasize its amiability, a very questionable fashion indeed, and one hard to restrain within the limit imposed. Charming, no doubt; but the merely polite amiability of social intercourse is not a fundamental trait of any character, and becomes in the hands of many artists only too readily the most insipid kind of sweetness.
(γγ) However compatible with portraiture the course of painting may be in all its modes of production it should, however, make the particular features of the face, the specific forms, ways of posing, grouping, and schemes of colour consonant with the actual situation, in which it composes its figures and natural objects in order to express a content. For it is just this content in this particular situation which should be portrayed.
Out of the infinitely diversified detail which in this connection we might examine I will only touch upon one point of vital importance. It is this that the situation may either be on its own account a passing one, and the emotion expressed by it of a momentary character, so that one and the same individual could express many similar ones in addition and also feelings in contrast with it, or the situation and emotion strikes at the very heart of a character, which thereby discloses its entire and most intimate nature. Situations and emotions of this latter type are the truly momentous crises in characterization[327]. In the situations, for example, in which I have already referred to the Madonna, one finds nothing, however essentially complete the individualization of the Mother of God may be in its composition, which is not a real factor in the embracing compass of her soul and character. In this case, too, the characterization is such that it isself-evident that she does not exist apart from what she can express in this specific circumstance. Supreme masters consequently have painted the Madonna in such immortalmaternal situations or phases. Other masters have still retained in her character the expression of ordinary life otherwise experienced and actual. This expression may be very beautiful and life-like, but this form, the like features, and a similar expression would be equally applicable to other interests and relations of marriage lore. We are consequently inclined to regard a figure of this type from yet other points of view than that of a Madonna, whereas in the supremest works we are unable to make room for any other thoughts but that which the situation awakens in us. It is on this ground that I admire so strongly the Mary Magdalene of Correggio in Dresden, and it will for ever awake such admiration. We have here the repentant sinner, but we cannot fail to see that sinfulness is not here the point of serious consideration[328]; it is assumed she was essentially noble and could not have been capable of bad passions and actions. Her profound and intimately self-imposed restraint therefore can only be a return to that which she really is, what is no momentary situation, but her entire nature. Throughout this entire composition, whether we look at form, facial expression, dress, pose, or environment, the artist has therefore not in the slightest degree laid a stress on those circumstances, which might indicate sin and culpability; she has lost the consciousness of those times, and is entirely absorbed in her present condition, and this faith, this instinct, this absorption appears to be her real and complete character.
Such a complete reciprocity between soul-life and external surroundings, determinacy of character and situation, themasters of Italy have illustrated with exceptional beauty. In the example I have already referred to of Kügelchen's picture of the Prodigal Son, on the contrary, we have no doubt the remorse of repentance and grief expressed to the life; but the artist has failed to secure the unity of the entire character, which, apart from such an aspect of it, he possessed, and of the actual conditions under which such was depicted to us. If we examine quietly such features, we can only find in them the physiognomy of any one we might chance to meet on the Dresden bridge or anywhere else. In the case of a real coalescence of character with the expression of a specific situation such a result would be impossible; just as, in true genre-painting, even where the concentration is upon the most fleeting moments of time, the realization is too vivid to leave room for the notion that the figures before us could ever be otherwise placed or could have received other traits or an altered type of expression.
These, then, are the main points we have to consider in respect to the content and the artistic treatment in the sensuous material of painting, the surface, that is, and colour.
In our consideration of thisthirdsection of our subject we are unable to confine ourselves, as we have hitherto done, to a wholly general examination of the content and purport appropriate to painting, and the mode of configuration, which follows from its principle, for in so far as this art is built up on the particularity of characters and their situation, and upon form and its pose, colour, and so forth, we are compelled to fix in our minds and discuss theactual realityof this art's separate productions. No study of painting is complete that does not take into its survey and is unable to enjoy and criticize the pictures themselves, in which the aspects of it we have examined are enforced. This is a general rule in the case of all art, but it applies with exceptional force to painting among those we have up to the present considered. In the case of architecture and sculpture,where the embrace of the content is more restricted, the means of exposition and configuration are to a less extent stamped with wealth and distinctive modification, and the particular aspects of their definition are simpler and more radical, we can more readily avail ourselves of copies, descriptions, and casts. It is essential in dealing with the art of painting that we should see the actual works themselves. In this case mere descriptions, however important they may be in a subsidiary sense, will not suffice. In the infinite variety, however, of its explication, the various aspects of which are united in particular works of art, these works appear to us in the first instance as a mere motley array, which, by reason of the fact that our review of it is based upon no principle of classification, is only to a small extent able to disclose to us the unique quality of individual pictures. And it follows from this that galleries, as a rule, if we are not already able to connect with each picture our knowledge of the country, period, school, and master to which it belongs, is simply a collection without meaning, in which we lose ourselves. The most profitable arrangement for study and enjoyment with our eyes is therefore an exhibition based onhistorical sequence.A collection of this kind, co-ordinated in relation to such a principle, unique and invaluable of its class, we shall shortly be able to admire in the picture gallery of the royal museum in this city[329]. In this we shall not only possess a historical survey of the technique of art in its stages of development, but shall have set before our minds, as an essential process with a history, that articulation of its ideal content in the distinctions of its schools, their various subject-matter, and their different modes of artistic conception and treatment. It is only through having given us a survey as consonant as this is with that vital process that we can form an idea from its origins in traditional and eclectic types, of the living growth of art, its search after expression and individual characteristic, its liberation from the inactive and tranquil station of its figures, that we can appreciate its progress to dramatic movement, grouping, and all the wealth and witchery of its colour, or finally learn to distinguish its schools, which either to some extent treat similar subject-matterin a way peculiar to themselves, or are distinct from each other by reasons of the variety of their respective content.
A historical development of painting such as that referred to is of as great importance toscientificobservation and exposition as it is to accurate study. The content of art as I have presented it, namely, the elaboration of its material, the distinct and fundamental changes in the mode of its conception, we find all this and more receives thus for the first time its concrete coherence in a sequence and under a classification which corresponds with the facts. It is therefore incumbent on us to glance at this process, if only by way of emphasis to what most immediately arrests attention.
In general the advance consists in this, that it originates inreligioussubjects conceived still in atypicalway, with simple architectonic arrangement and unelaborated colour. After this, in an increasing degree of fusion with religious situations, we get actuality, vital beauty of form, individuality, depth of penetration, charm and witchery of colouring, until Art finally turns its attention to the world itself, makes itself master of Nature, the daily occurrence of ordinary life, or what is of significance in national history whether present or past, or portraiture and anything else down to the merest trifle and the least significant fact, and with an enthusiasm equal to that it devoted to the religious ideal, and pre-eminently in this sphere secures not merely the most consummate result of technical accomplishment, but also a treatment and execution which is most full of life and personality. This progress is followed in clearest outline if we take in succession the schools of Byzantine, Italian, Flemish, Dutch, and German painting, after noting the most prominent features of which briefly we shall finally indicate the transition to the art of music[330].
(a) In our review of Byzantine painting we may remark to start with that the practice of painting among the Greeks was to a definable degree always carried on; and examplesof antique work contributed to the greater excellence of its results relatively to posture, draping, and other respects. On the other hand the touch of Nature and life wholly vanished from this art; in facial types it adhered strictly to tradition; in its figures and modes of expression it was conventional and rigid; in its general composition more or less architectonic. We find no trace of natural environment and a landscape background. The modelling, by means of light and shadow, brilliance and obscurity, and their fusion, no less than perspective and the art of lifelike grouping, either were not elaborated at all, or to a very slight extent. By reason of this strict adherence to a single acknowledged type independent artistic production had little room for its exercise. The art of painting and mosaic frequently degenerated into a mere craft, and became thereby lifeless and devoid of spirit, albeit such craftsmen, equally with the workers on antique vases, possessed excellent examples of previous work, which they could imitate so far as pose and the folding of drapery was concerned. A similar type of painting spread its sombre influence over the ravaged West and more particularly in Italy. Here, however, although in the first instance with beginnings of little strength, we are even at an early date conscious of an effort to break away from inflexible forms and modes of expression, and to face, at first, however, in a rough and ready way, a development of loftier aim. Of Byzantine pictures we may, on the contrary, affirm, as Herr von Rumohr[331]has maintained of Greek Madonnas and images of Christ that "it is obvious even in the most favoured examples, their origin was that of the mosaic, and artistic elaboration was rejected from the first." In other words[332]the Italians endeavoured even before the period of their independent art development in painting, and in contrast to the Byzantines to approximate to a more spiritual conception of Christian subjects. The writer above-named draws attention also as noteworthy support of his contention to the manner in which the later Greeks and Italians respectively represented Christ on crucifixes. According to this writer "the Greeks, to whom the sight of terrible bodily suffering was of common occurrence, conceived the Savioursuspended on the Cross with the entire weight of his body, the lower part of the body swollen and the slackened knees bent to the left, the bowed head contending with the pains of an awful death. Their subject was consequently in its essentials bodily suffering. The Italians, on the contrary, in their more ancient monuments, while we must not overlook the fact that the representation of the Virgin Mary with her Child no less than the Crucified is only of rare occurrence, were accustomed to depict the figure of the Saviour on the cross adopting, so it appears to us, the idea of the victory of the spiritual, not as in the former case the death of the body. And this unquestionably nobler conception asserts itself at an early date in the more favoured parts of Western Europe[333]." With this sketch I must here rest content.
(b) We have, however,secondly, another characteristic of art to consider in the earlier development of Italian painting. Apart from the religious content of the Old and New Testament and the biographies of martyrs and saints, it borrows its subjects in the main from Greek mythology, very seldom, that is, from the events of national history, or, if we except portraits, from the reality of contemporary life, and equally rarely, and only at a late stage and exceptionally, from natural landscape. Now that which it before all contributes to its conception and artistic elaboration of the subject-matter of religion is thevital realityof spiritual and corporeal existence, relatively to which at this stage all its forms are embodied and endowed with animation. For this vitality the essential principle on the spiritual side is that natural delightfulness, and on the corporeal side is that beauty which is consonant with physical form, a beauty which independently, as beautiful form, already displays innocence, buoyancy, maidenhood, natural grace of temperament, nobility, imagination, and a loving soul. If there is further added to anaturelof this type the exaltation and adornment of the soul in virtue of the ideal intimacy of religion and the spiritual characteristics of a profounder piety established as a vitalizing principle of soul-life in this essentially more admitted and inviolable province of spiritualredemption[334],—in such a case we have presented to us thereby an original harmony of form and its expression, which, wherever it is perfected, vividly reminds us in this sphere of romantic art and Christian art of the pure Ideal of art. No doubt also within a new accord of this type the inward life of the heart will be predominant; but this inward experience is a more happy, a purer heaven of the soul, the way of return to which form what is sensuous and finite, and the return to God, albeit the passage may be through a travail in the profounder anguish of repentance and death, is, however, less saturated with trouble and its insistency. And the reason of this is that the pain is concentrated in the sphere of soul, of idea, of faith, without making a descent into the region of passionate desire, intractable savagery, obstinate self-seeking and sin, and only arriving at the hardly won victory through smiting down such enemies of the blessed state. It is rather a transition of ideal permanence[335], a pain of the inward life, which feels itself as such suffering rather simply in virtue of its enthusiasm, a suffering of more abstract type, more spiritually abundant, which has as little need to brush away bodily anguish as we have to seek signs in the characterization of its bodily presence and physiognomy of obstinacy, uncouthness, crookedness, or the traits of superficial and mean natures, in which an obstinate conflict is first necessary, before such are meet to express real religious feeling[336]and piety. This more benign[337]intimacy of soul, this more original consonancy of exterior forms to ideal experience of this kind is what creates the charming clarity and the untroubled delight, which the genuinely beautiful works ofItalian painting excite and supply. Just as we say of instrumental music that there is tone and melody in it, so, too, we find that the pure song of soul floats here in melodious fusion over the entire configuration and all its forms. And as in the music of the Italians and in the tones of their song, when the pure strains ring forth without a forced utterance, in every separate note and inflection of sound and melody, it is simply the delight of the voice itself which rings out; so, too, such an intimate personal enjoyment of the loving soul is the fundamental tone of their painting[338]. It is the same intimacy, clarity, and freedom which meet us again in the great Italian poets. To start with this artistic resonance of rhymes in their terzets, canzonets, sonnets, and stanzas, this accord, which is not merely satisfied to allay its thirst for reverberation in the one repetition, but repeats the echo three times and more, this is itself a euphony which streams forth on its own account and for the sake of its own enjoyment. And a like freedom is stamped upon the spiritual content. In Petrarch's sonnets, sestets, and canzonets it is not so much the actual possession of their subject, after which the heart yearns; it is not the consideration and emotion which are involved in the actual content of the poem as such, and which is therein necessarily expressed; rather it is the expression itself which constitutes the source of enjoyment. It is the self-delight of Love, which seeks its bliss in its own mourning, its laments, its descriptions, memories, and experience; a yearning, which is satisfied in itself as such, and with the image, the spirit of those it loves, is already in full possession of the soul, with which it longs to unite itself. Dante, too, when conducted by his master Virgil through hell and hell-fire, gazes at what is the culmination of horror, of awfulness; he is fearful, he often bursts into tears, but he strides on comforted and tranquil, without affright and anxiety, without the sullenness and embitterment which implies "these things should not be thus." Nay, even his damned in hell receive the blessedness of eternity.Io eterno durois inscribed over the gates of hell. They are what they are, without repentance and longing; they do not speak of their sufferings; they are as immaterial to us as they are to them, for they endure forever. Rather they are absorbed simply in their personal experience and actions, secure of themselves as rooted in the same interests, without lamentation and without yearning[339].
When we have grasped this trait of happy independence and freedom of the soul in love we shall understand the character of the greatest Italian painters. It is in this freedom that they are masters of the detail of expression, and situation. On the wings of this tranquillity of soul they can maintain their sovereignty over form, beauty, and colour. In their most defined presentation of reality and character, while remaining wholly on the earth and often only producing portraits, or appearing to produce such, what we have are pictures of another sun, another spring. They are roses which are equally heavenly blossoms. And, consequently, we find that in their beauty we do not have merely beauty of form, we do not have only the sensuous unity of soul impressed on sensuous corporeal shapes; we are confronted with this very trait of reconciled Love in every mode, feature, and individuality of character. It is the butterfly, the Psyche[340], which in the sunlight of its heaven, even hovers round stunted flowers[341]. It is only by virtue of this rich, free, and rounded beauty that they are able to unfold the ideals of the antique art's more recent perfection.
Italian art has, however, not immediately and from the first attained to such a point of perfection; it had in truth a long road to traverse before it arrived there. And yet,despite this, the purity and innocence of its piety, the largeness of the entire conception, the unassuming beauty of form, this intimate revelation of soul[342], are frequently and above all in the case of the old Italian masters most conspicuous where the technical elaboration is still wholly incomplete. In the previous century it was fashionable to depreciate these earlier masters, and place them on one side as clumsy, dull, and barren[343]. It is only in more recent times that they have been once more rescued from oblivion by savants and artists; but the wonder and imitation thus awakened has run off into the excess of a preference which tends to deny the advances of a further development in mode of conception and presentment, and can only lead astray in the opposite direction.
In drawing the reader's more close attention to the more important phases in the development of Italian art up to this period of its fullest perfection, I will only briefly emphasize the following points which immediately concern the characterization of the essential aspects of painting and its modes of expression.
(α) After the earliest stage of rawness and barbarism the Italians moved forward with a fresh impetus from that in the main craftsmanship type of art which was planted by the Byzantines. The compass of subjects depicted was, however, not extensive, and the distinctive features of the type were austerity, solemnity, and religious loftiness. But even at this stage—I am quoting the conclusions of Herr von Rumohr—who is generally recognized as an authority upon these earlier periods[344], Duccio, the Sienese, and Cimabue, the Florentine, endeavoured to assimilate the few remains of antique drawing, which was grounded on laws of perspective and anatomical precision, and so far as possible, to rejuvenate the same in their own genius. They "instinctively recognized the value of such drawings, but strove to soften the extreme insistence[345] of their ossification, comparing such insufficiently comprehended traits with the life such as we find it in fact or suggestion when face to face with theirown productions[345]." Such are merely the first and mediating efforts of art to rise from the inflexibility of a type to lifelike and individual expression.
(β) Thefurtherstep of advance consists in the complete severation from those previous Greek examples, in the full acceptance, relatively both to the entire conception and execution of what is distinctively human and individual, and along with this in the profounder suitability of human characters and forms which was gradually evolved to express the religious content thus to be expressed.
(αα) It is here before all we must draw attention to the great influence which Giotto and his pupils exercised. Giotto, along with the changes he effected in respect to modes of conception and composition, brought about a reform in the art of preparing colours. The later Greeks probably, such at least is the result of chemical analysis, made use of wax either as a medium of colour, or as a kind of varnish[346], and from this we get the yellow-green and obscure general tone, which is not sufficiently explained by the action of lamplight[347]. Giotto wholly dispensed with this glutinous medium of the Greek painters, and used instead, when preparing his colours[348], the clarified milk of young shoots, unripe figs, and other less oliginous limes[349], which Italian painters of the early Middle Ages had used, very likely even before they strenuously imitated the Byzantines[350]. A medium of this kind had no darkening effect on the colours, but left their luminosity and clarity unimpaired. Still more important was the reform effected by Giotto in Italian painting with respect to selection of subjects and their manner of presentment. Ghiberti himself praises Giotto for having abandoned the rude style of the Greeks, and without leaning in this direction to an excess having introduced the truth and grace of Nature. Boccaccio, too, says of him that Nature is unable to create anythingthat Giotto could not imitate to the point of deception[351]. In Byzantine pictures we can hardly detect a trace of natural appearance. It was Giotto, then, who concentrated his attention on what is present and actual, and compared the forms and effects which he undertook to exhibit with Life as it existed around him. And we may associate with this tendency the fact that during the times of Giotto not only do we find that the state of society was more free and intent on enjoyment, but that the veneration of several later saints took its rise then, saints whose lives more or less fell in that period[352]. It was such Giotto utilized particularly in emphasizing the truthful presentment of the subjects of his art; there was, in fact, thus the further demand suggested by the content itself that he should bring into prominence the natural features of the bodily presence and exhibit more defined characterization, action, passion, situation, pose, and movement. What we find, however, to a relative degree disappears from this attempt is that imposing religious seriousness which is the fundamental characteristic of the phase of art which it followed[353]. The things of the world receive a stage and a wider opportunity for expression; and this is illustrated by the way Giotto, under the influence of his age, found room for burlesque along with so much that was pathetic. In this connection Herr von Rumohr states rightly, "Under conditions of this description I am at a loss to understand how certain critics, who have exclusively insisted on this feature of Giotto's work, can so overestimate Giotto's tendency and performance by claiming it as the most sublime effort of modern art[354]." It is a great service of the above-named critic to have once more placed in a true light the point of view from which Giotto can be justly appreciated; he throughout makes us careful to see, that in this tendency of Giotto to humanize and towards realism he never really, as a rule,advances beyond a comparatively subordinate stage in the process.
(ββ) The advance of painting continued under the manner of conception for which Giotto was in the main responsible. The typical representation of Christ, the apostles, and the more important events which are reported us by the evangelists, were more and more thrust into the background. Yet in another direction the embrace of subject-matter was for that reason extended. As our author expresses it: "All artists engaged in depicting the various phases in the life of latter-day saints, such as their previous worldliness, the sudden awakening of conscience, their entrance into the life of piety and asceticism, the miracles of their lives, more particularly after their decease, in the representation of which, as is to be expected from the external conditions of the art, the expression of the effect upon the living exceeded any suggestion of invisible powder[355]." Add to this that the events of the Life and Passion of Christ were not neglected. The birth and education of Christ, the Madonna with her Child were exceptionally favoured subjects, and were invested with a more life-like domesticity, touched with a more intimate tenderness, revealed to us in the medium of human feeling, and, moreover, to quote yet further: "In the problems[356]suggested by the Passion it was not so much the sublime and the triumph as simply the pathetic aspect which was emphasized, a direct consequence of the enthusiastic wave of sympathy with the earthly sufferings of the Saviour, to which Saint Francis, both by example and teaching, had communicated a vital energy hitherto unheard of."
In respect to a yet further advance towards the middle of the fifteenth century, we have to lay exceptional stress on two names, Masaccio and Fiesole. In the progressive steps through which the religious content was vividly carried into the living forms of the human figure and the animated expression of human traits Herr von Rumohr[357]draws attention to two essential aspects as of most importance. The one is the increase of rondure in all forms to which it applies; theother he indicates as "a profounder penetration into the articulation, the consistency, the most varied phases of the charm and significance of the features of the human countenance." Masaccio and Angelico da Fiesole between them were the first to contribute effectively to the solution of this artistic problem, the difficulty of which in its entirety exceeded the powers of any one artist of that period. "Masaccio was mainly occupied with the problem of chiaroscuro, and the rounding and effective articulations of groups of figures. Angelico da Fiesole, on the other hand, devoted himself to sounding the depths of ideal coherence, that indwelling significance of human features, the mine of whose treasure he was the first to open to painting[358]." The effort of Masaccio was not so much one in the direction of grace as in that of imposing conception, manliness, and under the instinctive need for unity of the entire composition. The impulse of Fra Angelico was that of religious intensity, a love severed from the world, a cloistral purity of emotion, an exaltation and consecration of the soul. Vasari assures us in his account of him that he never commenced work without prayer, and never depicted the sufferings of the Redeemer without bursting into tears[359]. We have, then as aspects of this advance of painting a more exalted vitality and realism: but, on the other hand, the depth of piety, the ingenuous devotion of the soul in its faith overran itself and overpowered the freedom, dexterity, naturalism, and beauty of the composition, pose, drapery, and colour. If the later development was able to attain to a far more exalted and complete expression of the spiritual consciousness, yet the epoch we are now considering has never been surpassed in purity and innocence of religious feeling and serious depth of conception. Many pictures of this time may very well, by reason of the fact that the forms of life, which are used to depict the religious intensity of soul-life, do not appear fully adequate to this expression, give us something like a repulse; from the point of view, however, of spiritual emotion, which is the most vital source of these works of art, we have still less reason to fail to acknowledge the naivepurity, the intimacy with the most profound depths of the truly religious content, the assuredness of faithful love even under oppression and in grief, and oft, too, the charm of innocence and blessedness, inasmuch as the epochs that followed it, however much in other aspects of artistic perfection they made a step forwards, yet for all that never secured again the perfection of these previous excellencies, when once it had been lost.
(γγ) Athirdaspect attaches to the further development of the art, in addition to those already discussed, which may be described as the wider embrace of it relatively to the subjects accepted for presentation by the new impulse. Just as what was regarded as sacred had from the very commencement of Italian painting approached more closely to reality by reason of the fact that men whose lives fell about the time of the painters themselves were declared to be saints, so too Art received into its own sphere other aspects of reality and present life. Starting from that earliest phase of pure spirituality and piety, an art whose aim was wholly absorbed in the expression of such religious emotions, painting proceeded more and more to associate the external life of the world with its religious subject-matter. The gladsome, forceful self-reliance of the citizen in the midst of his professional career, the business and the craft that was bound up with such qualities, the freedom, the manly courage and patriotism, in one word, his weal in the vital activities of the Present, all this newly-awakened sense of human delight in the virtues of civil life and its cheer and humour[360], this harmonized sympathy with what was actual in both its aspects of ideal life[361]and the external framework of the same, all this it was which entered now into his artistic conceptions and modes of presenting such and was made valid therein. It is in this spirit that the enthusiasm for landscape backgrounds, views of cities,environment of church buildings and palaces becomes a real instinct of artistic life; the living portraits of famous savants, friends, statesmen, artists, and other persons remarkable in their day for their wit and vivacity find a place in religious compositions; traits borrowed from both civil and domestic life are utilized with a greater or less degree of freedom and dexterity; and if, no doubt, the spiritual aspect of the religious content remained the foundation of all, yet the expression of piety was no longer exclusively isolate, but is linked together with the more ample life of reality and the open stage of the world[362]. No doubt we must add that by reason of this tendency the expression of religious concentration and its intimate piety is weakened, but art required also this worldly element in order to arrive at its culminating point.
(γ) Out of this fusion of the more embracing reality of life with the ideal material of religious emotion arose a new problem for genius to solve, the complete solution of which was reserved for the great masters of the sixteenth century. The supreme aim now was to bring the intimate life of soul, the seriousness and the loftiness of religious emotion into harmony with the animation, the actual presence of characters and forms both in its corporeal and spiritual aspect, in order that the bodily configuration in its pose, movement, and colour, may not simply remain an external framework, but become itself essentially an expression of spirit and life, and by virtue of that expression, made throughout all its parts wholly the reflex of soul-life no less than of external form, reveal a beauty without break or interruption.
Among the masters of most distinction, who set before themselves such an aim, we should pre-eminently mention Leonardo da Vinci. It was he, who, by virtue of his artistic thoroughness, his almost over-refined passion for detail, his exquisite delicacy of mind and feeling, not only penetrated further than any other[363]into the mysteries of the humanform and the secrets of its expression, but, through his equally profound knowledge of all the technique of a painter, attained to an extraordinary infallibility in the employment of all the means that his researches and practice had placed within his reach. And, along with this, he was able to retain a reverential seriousness in composing his religious subjects, so that his figures, however much they present to us the ideal of a more complete and rounded actuality, and disclose the expression of sweet, smiling joyfulness in facial traits and the delicate rhythm of drapery, do not thereby dispense with the dignity, which the worth and truth of religion demand[364].
The most unflecked quality[365]of perfection reached in this direction was, however, that first attained by Raphael. Herr von Rumohr assigns more particularly to the artists of the Umbrian School dating from the middle of the fifteenth century a mysterious fascination, which no sympathetic nature can resist, and endeavours to find the source of this attraction in the depth and tenderness of feeling no less than the marvellous unity into which these painters knew how to bring memories from the oldest essays of Christian art of a style only very partially understood by them[366]with the milder conceptions of a later time, and in this respect proved themselves superior to the Tuscan, Lombard, and Venetian fellow artists of that period[367]. It was just this expression of "flawless purity of soul and absolute surrender to the yearning and enthusiastic flow of tender feeling" to which Pietro Perugino, the master of Raphael, devoted his artistic efforts, and succeeded by doing so in fusing the objectivity and vitality of external forms, throughout all its actual realization and in every detail, an aim which had previously received the most marked attention in the elaborate work of the Florentines. Starting from the workof Perugino, to whose artistic taste and style he appears to have consistently adhered in his early work, Raphael proceeded yet further to realize to the most consummate degree the demand of the ideal above indicated. In other words we find united in him the highest ecclesiastical feeling for the themes of religious art and a complete knowledge and enthusiastic respect for natural phenomena in all the animation of their colour and shape together with an insight fully as great for the beauty of the antique. This great admiration for the idealistic beauty of the ancients did not bring him in any way to imitate and adapt to his work the forms which Greek sculpture had elaborated in their perfection. What he seized from it was simply the general principle of their free beauty which in his hands was throughout suffused with a more individual vitality more applicable to his art and with a type of expression more deeply informed with soul-life, and at the same time with an open, blithesome clarity and thoroughness, in all the detail of the presentment that up to his time was as yet unknown among Italian artists. In the elaboration and consistent fusion and coherence of this ideal atmosphere he reached the highest point of his attainment. On the other hand, in the magical charm of chiaroscuro, in the exquisite tenderness and grace of soul-expression, of forms, movements, and grouping, it is Correggio who most excels, while the incomparable greatness of Titian consists in the wealth of natural life that he displays, the illuminating bloom, fervency, warmth, and power of his colour. We know nothing more delightful than thenaïvetéof Correggio's not so much natural as religious and spiritual grace, nothing more sweet than his smiling, unconscious beauty and innocence[368].
The artistic perfection of these great masters is a culminating point of art such as could only be mastered by one nation in the course of historical development.
(c)Thirdly, in so far as the question is that of German painting we may affiliate that which is entirely German with that of Flemish or Dutch painters. The general distinction between the above schools and that of the Italians, consists in this, that neither the Germans nor the painters of the Netherlands were willing as a creation of their own to attain to the free ideal forms and modes of expression characteristic of Italian art, or were able to progress to that spiritually transfigured type of beauty which is essentially the result of such. What they did elaborate, however, was, in one aspect of it, the expression of depth of emotion and the austere seclusion of the individual soul, and, from another point of view, they attach to this intensity of faith the separate definition of individual character in the broader significance of it, that is to say, one which does not merely disclose the fact of its close interest with the claims of faith and salvation, but also shows how the individuals represented are affected by the concerns of the world, how they are buffeted by the cares of life, and in this severe ordeal have gained worldly wisdom, fidelity, consistency, straightforwardness, the constancy of chivalry and the sterling character of good citizens. Agreeably to this more restricted and depressed vision of the detail of life we find here, and it is particularly conspicuous in the German school, from the beginning, in deliberate contrast with the purer forms and characters of the Italians, rather the expression of a formal obstinacy of stubborn natures, which either oppose themselves to God with energetic defiance and brutal wilfulness, or are forced to impose restraint on themselves in order that they may, with sore travail, wrest themselves from their limitations and uncouthness, and fight their way to the reconciliation of religion; consequently the deep wounds which they inflict on their spiritual life inevitably contribute to the visible expression of their piety. In illustrating this more closely I will merely draw attention to certain prominent features, which are important indications of the contrast between the older Flemish school and the upper German and more recent Dutch masters of the seventeenth century.
(α) Among the early Flemish masters, the brothers Van Eyck, Hubert, and John are exceptionally distinguished in the early half of the fifteenth century, and it is only recentlythat their true merits have once more been established. It is now an established fact that they discovered, or at least they were the first to fully perfect, the process of oil-painting. Looking at the great advance they made we must now assume that a distinct series of stages in the course of this progress to its culmination could be set forth. We have, however, no historical array of works of art preserved for us whereby we could illustrate such a gradual process. We are face to face at one moment of time with the beginning and final consummation. For painting of greater excellence than that of these two brothers it is almost impossible to imagine. Moreover, the works that have come down to us, in which the mere type is already dispensed with and overcome, not merely display a grand mastery in drawing, arrangement, grouping, ideal and exterior characterization, enthusiasm, clarity, harmony, and delicacy of colouring, dignity and repose of composition; but we must add that the entire wealth of painting respectively to nature's environment, architectonic accessories, backgrounds, splendour and variety of material, drapery, style of weapons, ornamentation, and much besides, is already treated with such fidelity, with such an instinctive sense of what is pictorial, and with such a technical virtuosity, that even later centuries, at any rate from the point of view of thoroughness and truth, have been unable to produce any more consummate result. We are, however, more strongly attracted by the master works of Italian painting, if we contrast them with this Flemish school, because the Italians, along with the completest expression of soul-life and the religious sense, retain throughout the ideal of spiritual freedom and imaginative beauty. The figures of Flemish art delight us, no doubt, by virtue of their innocence,naïveté, and piety; nay, in the depth of their emotional life they, in some measure, surpass the work of the most excellent Italian artists; but the Flemish masters have never been able to attain to a beauty of form and a freedom of soul comparable with that of the Italians. Their Christ-babes are, in particular, badly modelled; and for the rest their characters, whether men or women, however strongly, subject to their dominant expression of religious fervour, they may display a sterling character in their relation to secular interests sanctified by the depth of their faith,nevertheless appear to us lacking in a significance which can exalt itself over such a piety, or rather, as dominated by it, do not appear able at the same time to be essentially free, instinct with imagination and the enterprise of superior qualities.