Thoughts on Art and Life Part 16

72.

No figure will be admirable if the gesture which expresses the pa.s.sion of the soul is not visible in it. The most admirable figure is that which best expresses the pa.s.sion of its mind.

73.

The good painter has two princ.i.p.al things to depict: man and the purpose of his mind. The first is easy, the second is difficult, since he must do it by the gestures and movements of the limbs, and this is to be learnt from the dumb, who more than all other men excel in it.

[Sidenote: The Dumb Man guides the Painter]

74.

The figures of men have gestures which correspond to what they are doing, so that in seeing them you understand what they are thinking of and saying; and these will be learned well by him who will copy the gestures of the dumb, for they speak by the gestures of their hands, their eyes, their brows and their whole person, when they wish to express the purpose of their mind. And do not mock me because I suggest a dumb teacher for the teaching of an art of which he is himself ignorant, because he will teach you better by his gestures than all the others with their words. And despise not such advice because they are the masters of gesture, and understand at a {118} distance what a man is talking of if he suits the actions of the hands to the words.

[Sidenote: Advice to the Painter]

75.

It is a great fault in painters to repeat the same movements, the same faces and manners of stuffs in one subject, and to let the greater part of his faces resemble their creator; and this has often been a source of wonder to me, for I have known some who in all their figures seem to have depicted themselves. And in the figures the actions and ways of the painter were visible. And if they are prompt in action and in their ways the figures are likewise prompt; and if the painter is pious, the figures with their twisted necks appear pious likewise, and if the painter is lazy the figures seem like laziness personified, and if the painter is deformed so are his figures, and if he is mad it is amply visible in figures of his subjects, which are devoid of intention and appear to be heedless of their action, some looking in one direction, some in another, as though they were dreaming; and therefore every manifestation in the picture corresponds to a peculiarity in the painter. And as I have often thought over the cause of this fault, it seems to me that we must conclude that the spirit which directs and governs everybody is that which forms our intellect, or rather, it is our intellect itself. It has {119} devised the whole figure of man according as it has thought fit that it should be, either with long or a short and turned-up nose, and thus it has determined its height and figure; and so powerful is the intellect that it gives motion to the arms of the painter and causes him to reproduce himself, since it appears to the spirit that this is the true method of portraying man, and he that does otherwise is in error. And should this spirit find any one who resembles its body, which it has formed, it loves it and becomes enamoured with it, and for this reason many men fall in love and marry wives which resemble themselves, and often the children which are born of the issue resemble their parents.

76.

The painter should portray his figure according to the measurements of a natural body, which shall be of universal proper proportions; in addition to this he should measure himself and see in which part his own figure varies greatly or less from the aforesaid pattern of excellence, and when he has ascertained this he should try his utmost to avoid the defects which exist in his own person in the figures he portrays.

And know that thou must contend with all thy might against this fault inasmuch as it is a defect which originated with the intellect; because the {120} spirit which governs thy body is that which is thine own intellect, and it is inclined to take pleasure in works similar to that which it accomplished in forming its body. And this is the reason that there is no woman, however ugly, who does not find a lover, unless she be monstrous. So remember to ascertain the defects of thy person and to avoid reproducing them in the figures thou dost compose.

77.

That painter who has coa.r.s.e hands will portray the like in his works, and the same thing will occur in every limb unless he avoids this pitfall by long study. Therefore, O painter, look well on that part of thy person which is most ugly, and by thy study make ample reparation for it, because if thou art b.e.s.t.i.a.l, b.e.s.t.i.a.l and without intellect will be thy figures, and similarly both the good and ill which thou hast in thee will be partially visible in thy compositions.

78.

Men and words are already made, and thou, painter, who knowest not how to make thy figures move, art like the orator who knows not how to employ his words.

79.

The movements of men are as varied as the {121} circ.u.mstances which pa.s.s through their minds; and men will be more or less actuated by every circ.u.mstance in itself according as they are more or less powerful and according to age; because in the same circ.u.mstance an old man or a youth will make a different movement.

[Sidenote: Power of Expression in Painting]

80.

The imagination does not perceive such excellent things as the eye, because the eye receives the images or semblances from objects, and transmits them to the perception, and from thence to the brain; and there they are comprehended. But the imagination does not issue forth from the brain, with the exception of that part of it which is transmitted to the memory, and in the brain it remains and dies, if the thing imagined is not of high quality. And in this case poetry is formed in the mind or in the imagination of the poet, who depicts the same objects as the painter, and by reason of the work of his fancy he wishes to rival the painter, but in reality he is greatly inferior to him, as we have shown above. Therefore with regard to the work of fancy we will say that there is the same proportion between the art of painting and that of poetry as exists between the body and the shadow proceeding from it, and the proportion is still greater, inasmuch as the shadow of such a body at least penetrates to {122} the brain through the eye, but the imaginative embodiment of such a body does not enter into the eye, but is born in the dark brain. Ah! What difference there is between imagining such a light in the darkness of the brain and seeing it in concrete shape set free from all darkness.

If thou, O poet, dost represent the battle and its bloodshed enveloped by the obscure and dark air, amid the smoke of the terrifying and deadly engines, together with the thick dust which darkens the air, and the flight in terror of wretches panic-stricken by horrible death; in this case the painter will surpa.s.s thee, because thy pen will be used up before thou hast scarcely begun to describe what the art of the painter represents for thee immediately. And thy tongue shall be parched with thirst and thy body worn out with weariness and hunger before thou canst show what the painter will reveal in an instant of time. And in this painting there lacks nothing save the soul of the things depicted, and every body is represented in its entirety as far as it is visible in one aspect; and it would be a long and most tedious matter for poetry to enumerate all the movements of each soldier in such a war, and the parts of their limbs and their ornaments which the finished picture places before you with great accuracy and brevity; and to such a representation nothing is wanting save the noise of the engines, and the cries of the terrifying victors, {123} and the screams and lamentations of those awe-stricken; neither again can the poet convey these things to the hearing.

We will say, therefore, that poetry is an art which is supremely potent for the blind, and the painting has the same result on the deaf.

Painting, therefore, excels poetry in proportion as the sense to which it ministers is the n.o.bler. The only true function of the poet is to represent the words of people who talk among each other, and these alone he represents to the hearing as if they were natural, because they are natural in themselves and created by the human voice; and in all other respects he is surpa.s.sed by the painter. Still more, incomparably greater is the width of range of painting than that of speech, because the painter can accomplish an infinity of things which speech will not be able to name for want of the appropriate terms. And seest thou not that if the painter wishes to depict animals and devils in h.e.l.l with what richness of invention he proceeds?

And I once chanced to paint a picture which represented a divine subject, and it was bought by the lover of her whom it represented, and he wished to strip it of its divine character so as to be able to kiss it without offence. But finally his conscience overcame his desire and his l.u.s.t and he was compelled to remove the picture from his house.

Now go thou, poet, and describe a beautiful woman without giving the semblance of {124} the living thing, and with it arouse such desire in men! If thou sayest: I will describe then h.e.l.l and Paradise and other delights and terrors,--the painter will surpa.s.s thee, because he will set before thee things which in silence will [make thee] give utterance to such delight, and so terrify thee as to cause thee to wish to take flight. Painting stirs the senses more readily than poetry. And if thou sayest that by speech thou canst convulse a crowd with laughter or tears, I rejoin that it is not thou who stirrest the crowd, it is the pathos of the orator, and his mirth. A painter once painted a picture which caused everybody who saw it to yawn, and this happened every time the eye fell on the picture, which represented a person yawning.

Others have painted libidinous acts of such sensuality that they have incited those who gazed on them to similar acts, and poetry could not do this.

And if you write the description of certain deities the description will not be held in the same veneration as the picture of the Deity, because prayers and votive offerings will always be made to the picture, and many peoples from diverse countries and from across the Eastern seas will flock to it. And they will invoke the picture, and not the writing, for succour. Who is he who would not lose hearing, smell and touch rather than sight? Because he who loses his sight is like the man who is driven from the world, because {125} he sees neither it nor anything else any longer. And this life becomes the sister of Death.

[Sidenote: Landscapes]

81.

I have been to see a variety of cloud effects, and lately over Milan towards Lake Maggiore I saw a cloud in the form of a huge mountain full of fiery scales, because the rays of the sun, which was already reddening and close to the horizon, tinged the cloud with its own colour. And this cloud attracted to it all the lesser clouds which were around it; and the great cloud did not move from its place, but on the contrary retained on its summit the light of the sun till an hour and a half after nightfall, such was its immense size; and about two hours after nightfall a great, an incredibly tremendous wind arose.

[Sidenote: Vegetation of a Hill]

82.

The gra.s.ses and plants will be paler in proportion as the soil which nourishes them is leaner and devoid of moisture; the earth is leaner and less rich in moisture on the rocks of which the mountains are formed. And the trees will be smaller and thinner in proportion as they are nearer to the summit of the mountain; and the soil is leaner in proportion as it is nearer to the said summit, and it is richer in proportion as it is nearer the hollow valleys. Therefore, O painter, {126} thou shalt represent rocks on the summits of the mountains--for they are composed of rocks--for the greater part devoid of soil, and the plants which grow there are small and lean and for the greater part withered and dry from lack of moisture, and the sandy and lean earth is seen through the faded plants; and the small plants are stunted and aged, exiguous in size, with short and thick boughs and few leaves; they cover for the greater part the rust-coloured and dry roots, and are interwoven in the strata and the fissures of the rugged rocks, and issue from trunks maimed by men or by the winds; and in many places you see the rocks surmounting the summits of the high mountains, covered with a thin and faded moss; and in some places their true colour is laid bare and made visible owing to the percussion of the lightnings of Heaven, whose course is often obstructed to the damage of these rocks.

And in proportion as you descend towards the base of the mountains the plants are more vigorous and their boughs and foliage are denser; and their vegetation varied according to the various species of the plants of which such woods are composed, and their boughs are of diverse arrangement and diverse amplitude of foliage, various in shape and size; and some have straight boughs like the cypress, and some have widely scattered and spreading boughs like the oak and the chestnut tree, and the like; some have very {127} small leaves, others have a spare foliage like the juniper and the plane tree, and others; some plants born at the same time are divided by wide s.p.a.ces, and others are united with no division of s.p.a.ce between them.

[Sidenote: How to represent Night]

83.

That which is entirely devoid of light is all darkness; as the night is like this and you wish to represent a night subject, represent a great fire, so that the object which is nearest to the fire may be tinged with its colour, since the object which is nearest the fire will partic.i.p.ate most in its nature. And as you will make the fire red, all the objects which it illumines must be red also, and those which are farther off from the fire will be dyed to a greater extent by the dark colour of night. The figures which are between you and the fire appear dark from the obscurity of the night, not from the glow of the firelight, and those which are at the side are half dark and half ruddy, and those which are visible beyond the edge of the flames will be altogether lighted up by the red glow against a black background.

As to their action, make those which are near s.h.i.+eld themselves with their hands and cloaks against the intense heat with averted faces as though about to flee; with regard to those who are farther off, represent them chiefly in the act of raising their hands to their eyes, dazzled by the intense glare.

{128}

[Sidenote: How to represent Storm]

84.

If you wish to represent well a storm, consider and weigh its effects when the wind, blowing across the surface of the sea and the earth, removes and carries with it those things which are not stable in the universal drift. And in order to represent this storm adequately, you must in the first place represent tattered and rent clouds rus.h.i.+ng with the rus.h.i.+ng wind, accompanied by sandy dust caught up from the seash.o.r.es, and boughs and leaves torn up by the force and fury of the wind, and dispersed in the air with many other light objects. The trees and the plants bent towards the earth almost seem as though they wished to follow the rus.h.i.+ng wind, with their boughs wrenched from their natural direction and their foliage all disordered and distorted.

Of the men who are to be seen, some are fallen and entangled in their clothes and almost unrecognizable on account of the dust, and those who remain standing may be behind some tree, clutching hold of it so that the wind may not tear them away; others, with their hands over their eyes on account of the dust, stoop towards the ground, with their clothes and hair streaming to the wind. The sea should be rough and tempestuous, and full of swirling eddies and foam among the high waves, and the wind hurls the spray through the tumultuous air like a thick and swathing mist. {129} As regards the s.h.i.+ps that are there, you will depict some with torn sails and tattered shreds fluttering through the air with shattered rigging; some of the masts will be split and fallen, and the s.h.i.+p lying down and wrecked in the raging waves; some men will be shrieking and clinging to the remnants of the vessel. You will make the clouds driven by the fury of the winds and hurled against the high summits of the mountains, and eddying and torn like waves beaten against rocks; the air shall be terrible owing to deep darkness caused by the dust and the mist and the dense clouds.

[Sidenote: How to describe a Battle]

85.