The Development Of The Feeling For Nature In The Middle Ages And Modern Times Part 12

So we see that interest in Nature in the literature of the Crusaders very seldom went beyond the utilitarian bounds of pleasure and admiration in fertility and pleasantness; and the German national epics rarely alluded to her traits even by way of comparison. The court epics shewed some advance, and sympathy was distinctly traceable in Gottfried, and even attained to artistic expression in his lyrics, where his own feelings chimed with Nature.

For the rest, the Minnesingers' descriptions were all alike. The charm of Nature apart from other considerations, delight in her for her own sake alone, was unknown to the time.

Hitherto we have only spoken of literature.

Feeling for Nature reveals itself in plastic art also, especially in painting; and since the mind of a people is one united organism, the relation between poetry and painting is not one of opposition and mutual exclusion--they rather enlarge and explain, or condition each other.

As concerns feeling for Nature, it may be taken as a universal rule that landscape-painting only develops when Nature is sought for her own sake, and that so long as scenery merely serves the purpose of ornament in literature, so long it merely serves as accessory and background in painting; whereas, when Nature takes a wider s.p.a.ce in prose and poetry, and becomes an end of representation in herself, the moment for the birth of landscape-painting has come. We will follow the stages of the development of painting very briefly, from Woltmann and Woermann's excellent book,[9] which, if it throws no fresh light upon our subject, ill.u.s.trates what has just been said in a striking manner.

In the first centuries _Anno Domini_, painting was wholly proscribed by Christendom. Its technique did not differ from that of antiquity; but Christendom took up an att.i.tude of antagonism. The picture wors.h.i.+p of the old religions was opposed to its very origin and essence, and was only gradually introduced into the Christian cult through heathen influences. It is a fact too, easy to explain, especially through its Jewish origin, that Christianity at first felt no need of art, and that this one-sidedness only ceased when the specifically Jewish element in it had died out, and Christendom pa.s.sed to cultivated Greeks and Romans. In the cemeteries and catacombs of the first three centuries, we find purely decorative work, light vines with Cupids, but also remains of landscapes; for instance, in the oldest part of the cemetery of Domitilla at Rome, where the ceiling decoration consists of shepherds, fishers, and biblical scenes. The ceiling picture in St Lucina (second century) has apparently the Good Shepherd in the middle, and round it alternate pictures of Him and of the praying Madonna; whilst in the middle it has also charming divisions with fields, branches with leaves and flowers, birds, masks, and floating genii.

In Byzantine painting too, the influence of antiquity was still visible, especially in a Psaltery with a Commentary and fourteen large pictures. David appears here as a shepherd; a beautiful woman's form, exhibiting the melody, is leaning with her left arm upon his shoulder; a nymph's head peeps out of the foliage; and in front we have Bethlehem, and the mountain G.o.d resting in a bold position under a rock; sheep, goats, and water are close by, and a landscape with cla.s.sic buildings, streams, and mountains forms the background; it is very poetically conceived. Elsewhere, too, personifications recur, in which cla.s.sic beauty is still visible, mixed with severe Christian forms.

At the end of the tenth century began the Romantic period, which closed in the thirteenth.

The brilliant progress made by architecture paved the way for the other arts; minds trained in its laws began to look for law in organic Nature too, and were no longer content with the old uncertain and arbitrary shapes. But as no independent feeling for Nature, in the widest sense of the term, existed, mediaeval art treated her, not according to her own laws, but to those of architecture. With the development of the Gothic style, from the thirteenth century on, art became a citizen's craft, a branch of industry. Heretofore it had possessed but one means of expression--religious festival or ceremony, severely ecclesiastical. This limit was now removed. The artist lived a wide life, open to impressions from Nature, his imagination fed by poetry with new ideas and feelings, and constantly stimulated by the love of pleasure, which was so vehement among all cla.s.ses that it turned every civil and ecclesiastical event to histrionic purposes, and even made its influence felt upon the clergy. The strong religious feeling which pervaded the Middle Ages still ruled, and even rose to greater enthusiasm, in accordance with the spirit of the day; but it was no longer a matter of blind submission of the will, but of conscious acceptance.

It is true that knowledge of the external world was as yet very limited; the painter had not explored and mastered it, but only used it as a means to represent a certain realm of feeling, studying it just so far as this demanded. We have seen the same in the case of poetry. The beginnings of realistic painting were visible, although, as, for example, in representing animals, no individuality was reached.

From the middle of the fourteenth century a new French school sprang up. The external world was more keenly and accurately studied, especially on its graceful side. It was only at the end of that period that painting felt the need to develop the background, and indicate actual surroundings by blue sky, hills, Gothic buildings, and conventional trees. These were given in linear perspective; of aerial perspective there was none. The earlier taste still ruled in initialling and border decorations; but little flowers were added by degrees to the thorn-leaf pattern, and birds, sometimes angels, introduced.

The altar-piece at Cologne, at the end of the fourteenth century, is more subjective in conception, and full of lyric feeling. Poetic feeling came into favour, especially in Madonna pictures of purely idyllic character, which were painted with most charming surroundings. Instead of a throne and wors.h.i.+pping figures, Mary was placed sitting comfortably with the Child on flowery turf, and saints around her; and although the background might be golden instead of landscape, yet all the stems and blossoms in the gra.s.s were naturally and accurately treated. In a little picture in the town museum at Frankfort, the Madonna is seated in a rose garden under fruit trees gay with birds, and reading a book; a table with food and drinks stands close by, and a battlemented wall surrounds the garden. She is absorbed in contemplation; three female saints are attending to mundane business close by, one drawing water from a brook, another picking cherries, the third teaching the child Christ to play the zither. There is real feeling in the whole picture, and the landscape is worked in with distinct reference to the chief idea.

Hence, although there were many isolated attempts to shew that realistic and individual study of Nature had begun, landscape-painting had not advanced beyond the position of a background, treated in a way more or less suited to the main subject of the picture; and trees, rocks, meadows, flowers, were still only framework, ornament, as in the poetry of the Minnesingers.[10]

CHAPTER IV

INDIVIDUALISM AND SENTIMENTAL FEELING AT THE RENAISSANCE

In a certain sense all times are transitional to those who live in them, since what is old is always in process of being destroyed and giving way to the new. But there are landmarks in the general development of culture, which mark off definite periods and divide what has been from what is beginning. h.e.l.lenism was such a landmark in antiquity, the Renaissance in the Middle Ages.

Without overlooking the differences between Greek and Italian, cla.s.sic and modern, which are relative and not absolute, it is instructive to note the great likeness between these two epochs. The limits of their culture will stand out more clearly, if, by the aid of Helbig's researches and Burckhardt's masterly account of the Renaissance, we range the chief points of that likeness side by side.

They were epochs in which an icy crust, which had been lying over human thought and feeling, melted as if before a spring breeze. It is true that the theory of life which now began to prevail was not absolutely new; the stages of growth in a nation's culture are never isolated; it was the result of the enlargement of various factors already present, and their fusion with a flood of incoming ones.

The Ionic-Doric Greek kingdom widened out in Alexander's time to a h.e.l.lenic-Asiatic one, and the barriers of the Romano-Germanic Middle Ages fell with the Crusades and the great voyages of discovery.

h.e.l.lenism and the Renaissance brought about the transition from antiquity and the mediaeval to the specifically modern; the Roman Empire inherited h.e.l.lenism, the Reformation the Renaissance. Both had their roots in the past, both made new growth which blossomed at a later time. In h.e.l.lenism, Oriental elements were mixed with the Greek; in the Renaissance, it was a mixture of Germanic with the native Italian which caused the revival of cla.s.sic antiquity and new culture. Burckhardt says[1]:

Elsewhere in Europe men deliberately and with reflection borrowed this or the other element of cla.s.sical civilization; in Italy, the sympathies both of the learned and of the people were naturally engaged on the side of antiquity as a whole, which stood to them as a symbol of past greatness. The Latin language too was easy to an Italian, and the numerous monuments and doc.u.ments in which the country abounded facilitated a return to the past. With this tendency, other elements--the popular character which time had now greatly modified, the political inst.i.tutions imported by the Lombards from Germany, chivalry and northern forms of civilization, and the influence of religion and the Church--combined to produce the modern Italian spirit, which was destined to serve as the model and ideal for the whole western world.

The distance between the works of the Greek artists and poets--between Homer, Sophocles, and Phidias on the one hand, and the Alexandrian Theocritus and Kallimachos and the Pergamos sculptures on the other--is greater than lies between the _Nibelungenlied_ and the Minnesingers, and Dante and Petrarch. In both cases one finds oneself in a new world of thought and feeling, where each and all bears the stamp of change, in matters political and social as well as artistic.

If, for example, by the aid of Von Helbig's researches,[2] we conjure up a picture of the chief points in the history of Greek culture, we are astonished to see how almost every point recurred at the Renaissance, as described by Burckhardt.

The chief mark of both epochs was individualism, the discovery of the individual. In h.e.l.lenism it was the barriers of race and position which fell; in the Renaissance, the veil, woven of mysticism and delusion, which had obscured mediaeval faith, thought, and feeling.

Every man recognized himself to be an independent unit of church, state, people, corporation--of all those bodies in which in the Middle Ages he had been entirely merged.

Monarchical inst.i.tutions arose in h.e.l.lenism; but the individual was no longer content to serve them only as one among many; he must needs develop his own powers. Private affairs began to preponderate over public; the very physiognomy of the race shewed an individual stamp.

After the time of Alexander the Great, portrait shewed most marked individuality. Those of the previous period had a certain uniform expression; one would have looked in vain among them for the diversities in contemporary types shewn by comparing Alexander's vivid face full of stormy energy, Menander's with its peculiar look of irony, and the elaborate savant-physiognomy of Aristotle. (HELBIG.)

And Burckhardt says:

At the close of the thirteenth century Italy began to swarm with individuality; the charm laid upon human personality was dissolved, and a thousand figures meet us each in its own special shape and dress.... Despotism, as we have already seen, fostered in the highest degree the individuality, not only of the tyrant or Condottiere himself, but also of the men whom he protected or used as his tools--the secretary, minister, poet, or companion.

Political indifference brought about a high degree of cosmopolitanism, especially among those who were banished. 'My country is the whole world,' said Dante; and Ghiberti: 'Only he who has learned everything is nowhere a stranger; robbed of his fortune and without friends, he is yet a citizen of every country, and can fearlessly despise the changes of fortune.'

In both h.e.l.lenism and the Renaissance, an effort was made in art and science to see things as they really were. In art, detail was industriously cultivated; but its naturalism, especially as to undraped figures, was due to a sensuous refinement of gallantry and erotic feeling. The sensuous flourished no less in Greek times than in those of Boccaccio; but the most characteristic peculiarity of h.e.l.lenism was its intentional revelling in feeling--its sentimentality. There was a trace of melancholy upon many faces of the time, and unhappy love in endless variations was the poet's main theme. Petrarch's lyre was tuned to the same key; a melancholy delight in grief was the constant burden of his song.

In Greece the sight of foreign lands had furthered the natural sciences, especially geography, astronomy, zoology, and botany; and the striving for universality at the Renaissance, which was as much a part of its individualism as its pa.s.sion for fame, was aided by the widening of the physical and mental horizons through the Crusades and voyages of discovery. Dante was not only the greatest poet of his time, but an astronomer; Petrarch was geographer and cartographer, and, at the end of the fifteenth century, with Paolo Toscanelli, Lucca Baccioli, and Leonardo da Vinci, Italy was beyond all comparison the first nation in Europe in mathematics and natural science.

A significant proof of the wide-spread interest in natural history is found in the zeal which shewed itself at an early period for the collection and comparative study of plants and animals. Italy claims to be the first creator of botanical gardens.... princes and wealthy men, in laying out their pleasure gardens, instinctively made a point of collecting the greatest possible number of different plants in all their species and varieties. (BURCKHARDT.)

Leon Battista Alberti, a man of wide theoretical knowledge as well as technical and artistic facility of all sorts, entered into the whole life around him with a sympathetic intensity that might almost be called nervous.

At the sight of n.o.ble trees and waving corn-fields he shed tears ... more than once, when he was ill, the sight of a beautiful landscape cured him. (BURCKHARDT.)

He defined a beautiful landscape as one in which one could see in its different parts, sea, mountain, lake or spring, dry rocks or plains, wood and valley. Therefore he cared for variety; and, what is more striking, in contrast to level country, he admired mountains and rocks!

In h.e.l.lenism, hunting, to which only the Macedonians had been addicted before, became a fas.h.i.+on, and was enjoyed with Oriental pomp in the _paradeisoi_. Writers drew most of their comparisons from it.

In the Renaissance, Petrarch did the same, and animals often served as emblems of state--their condition ominous of good or evil--and were fostered with superst.i.tious veneration, as, for example, the lions at Florence.

Thus the growth of the natural sciences increased interest in the external world, and sensitiveness brought about a sentimental att.i.tude towards Nature in h.e.l.lenism and in the Renaissance.

Both discovered in Nature a source of purest pleasure; the Renaissance feeling was, in fact, the extension and enhancement of the h.e.l.lenic. Burckhardt overlooked the fact that beautiful scenery was appreciated and described for its own sake in h.e.l.lenism, but he says very justly;

The Italians are the first among modern peoples by whom the outward world was seen and felt as something beautiful.... By the year 1200, at the height of the Middle Ages, a genuine hearty enjoyment of the external world was again in existence, and found lively expression in the minstrelsy of different nations, which gives evidence of the sympathy felt with all the simple phenomena of Nature--spring with its flowers, the green fields and the woods. But these pictures are all foreground without perspective.

Among the Minnesingers there were traces of feeling for Nature; but only for certain stereotyped phases. Of the individuality of a landscape, its characteristic colour, form, and light, not a word was said.

Even the Carmina Burana were not much ahead of the Minnesingers in this respect, although they deserve a closer examination.

These Latin poems of wandering clerks probably belong to the twelfth century, and though no doubt a product in which the whole of Europe had a share, their best pieces must be ascribed to a French hand.

Latin poetry lives again in them, with a freshness the Carlovingian Renaissance never reached; they are mediaeval in form, but full of a frank enjoyment of life and its pleasures, which hardly any northerner of that day possessed. Often enough this degenerated into frivolity; but the stir of national awakening after the long sleep of the Middle Ages is felt like a spring breeze through them all.

It is a far cry from the view of Nature we saw in the Carlovingian monks, to these highly-coloured verses. The dim light of churches and bare cell walls may have doubled the monks' appreciation of blue skies and open-air life; but they were fettered by the constant fight with the senses; Nature to them must needs be less a work of G.o.d for man's delight, than a dangerous means of seduction. 'They wandered through Nature with timid misgiving, and their anxious fantasy depicted forms of terror or marvellous rescues.[3] The idyllic pleasure in the simple charms of Nature, especially in the monastery garden of the Carlovingian time, contrasts strikingly with the tone of these very mundane _vagantes clerici_, for whom Nature had not only long been absorbed and freed from all demoniac influence, but peopled by the charming forms of the old mythic poems, and made for the joy and profit of men, in the widest and naivest sense of the words.

Spring songs, as with the Minnesingers, take up most of the s.p.a.ce; but the theme is treated with greater variety. Enjoyment of life and Nature breathes through them all.

One runs thus:

Spring cometh, and the earth is decked and studded with vernal flowers. The harmony of the birds' returning song rouses the heart to be glad. It is the time of joy.

Songs 98 to 118 rejoice that winter is gone; for instance: