The life and writings of Henry Fuseli Volume III Part 8

192. Him who has freshness without frigidity, who glows without being adust, whose tints luxuriate though not fermented by putrefaction; who is juicy yet not clammy, though broad not empty, sharp without dryness, clear not pellucid, airy not volatile, without being clumsy plump--him you may venture to call a colourist.

193. Breadth is not vacuity--Breadth might easily be obtained if emptiness could give it.

194. The forms of virtue are erect, the forms of pleasure undulate: Minerva's drapery descends in long uninterrupted lines; a thousand amorous curves embrace the limbs of Flora.

195. Subordination is the character of drapery. The heraldry of dress, the rows of aggregated mitres and pontifical trappings, are noticed only for the sake of their wearers in the compositions of the Vatican.

_Coroll._--The superiority of style in drapery over that of the limbs which it covers in the earliest essays of art after its restoration, is not accounted for by the a.s.sertion that it is transcribed from the antique: if it is, by what unaccountable perverseness did the forms of the nudities uniformly escape observation? In painting, this dissonance continues more or less offensively from the epoch of Cimabue to that of Masaccio, and, him excepted, down to Pinturicchio; and ceases not to shock us in sculpture from the Pisani, to the appearance of Lorenzo Ghiberti. Nor did that style of drapery mark only the productions of Italian art; on this side of the Alps it invested that of Germany, from the Angels and Madonnas of Martin Schongaver and Albert Durer, to those of Aldegraver and Sebald Behm: in nearly all their performances, Trans and Cisalpine, the wearer is the appendix of his garment, chucked into vestments not his own, a dwarfish thief hid in a giant's robe.

196. Raffael's drapery is the a.s.sistant of character; in Michael Angelo it envelopes grandeur; it is in Rubens the ponderous robe of pomp.

197. If Nature has not taught you to sketch, you apply in vain to art to finish your work.[38]

198. Some must be idle lest others should want work.[39]

199. He who submits to follow, is not made to precede.[40]

200. Consider it as the unalterable law of Nature that all your power upon others depends on your own emotions. Shakspeare wept, trembled, laughed first at what now sways the public feature; and where he did not, he is stale, outrageous or disgusting.

201. None but indelible materials can support the epic. Whatever is local, or the volatile creature of the time, beauties of fas.h.i.+on and sentiments of sects, tears shed over roses, epigrammatic sparkling, pa.s.sions taught to rave, and graces trained to move, the antiquary's mouldering stores, the bubbles of allegorists--are all with equal contempt pa.s.sed over or crushed by him who claims the lasting empire of the human heart.

202. The invention of machines to supersede manual labour will at length destroy population and commerce;[41] and the methods contrived to shorten the apprentices.h.i.+p of artists annihilate art.

203. Expect no religion in times when it is easier to meet with a saint than a man; and no art in those that multiply their artists beyond their labourers.

204. Expect nothing but trifles in times when those who ought to encourage the arts are content to debase them by their own performances.

205. Mediocrity despatches and exults; the man of talent congratulates himself on the success of his exertions--Genius alone mourns over defeated expectation.

206. Pride.--Call not him proud who is influenced by the tide and ebb of opinion.

207. Modesty.--The touchstone of genuine modesty is the attention paid to criticism, and the temper with which it is received, or its advice adopted; the most arrogant pretence, the most fiery ambition, the most towering conceit, may fence themselves with smoothness, silence and submissive looks--Oil, the smoothest of substances, swims on all.

208. Praise.--Despise all praise but what he gives who has been praised for similar efforts; or his whose interest it is to blame.

209. Emulation.--The vindication of the innate powers, of the individual dignity of man, careless of appendages and accidental advantage, grasps the substance of its object.

210. Envy, the bantling of desperate self-love, grasps the appendages, heedless of things. Emulation embalms the dead; Envy the vampire, blasts the living.

211. Flattery, the midwife of half-born conceits and struggling wishes, sometimes persuades, a boy that he is a man, a dwarf that he is a giant, but too often enervates the limbs of energy.

212. Vanity.--The vain is the most humble of mortals: the victim of a pimple.

213. Those reduced to live on the alms of genius, are the first to deny its existence.

214. Shakspeare is to Sophocles what the incessant flashes of a tempestuous night are to daylight.

215. Things came to Raffaelle and Shakspeare; Michael Angelo and Milton came to things.

216. The women of Michael Angelo are the s.e.x.

_Coroll._--Eve emerging from the side of Adam; Eve reclining under the tree of knowledge, in the Capella Sistina; the figures of Night and Dawn on the tombs of the Medici, are pure generic forms, little discriminated by character, and more expressive by action than emotion of features; solidity without heaviness separates them from the females in the Last Judgment, which, with the exception of the Madonna and St. Catharine, are less beholden to grace than anatomy. The Cartoon of the Leda proves that he was not inattentive to the detail of female charms, but beauty did not often visit his slumbers, guide his hand, or interrupt the gravity of his meditation.

217. The women of Raffaelle are either his own mistress, or mothers.

_Coroll._--This relates chiefly to his Madonnas--Of his saints the St.

Cecilia at Bologna has most of antique beauty, and, whether imitated or conceived, resembles the Niobe; but pride is absorbed in devotion, she is the enraptured victim of divine love, and glows with celestial fire: the G.o.ddesses of the Farnesina, however gracefully imagined, are too ponderous for aerial forms and amorous conceits.

218. The women of Correggio are seraglio beauties.

_Coroll._--The enchantment of the Magdalen, in the picture of the St.

Jerome in the Pilotta at Parma, is produced by chiaroscuro and att.i.tude.

Sensuality personified is the general character of his females, and the grace of his children, less naivete than grimace, the caricature of jollity.

219. The women of t.i.tiano are the plump, fair, marrowy Venetian race.

_Coroll._--Venus taking a reluctant farewell of Adonis; Diana starting at the intrusion of Acteon, with every allure of att.i.tude, with heads dressed by the Graces, are local beauties, sink under the weight of Venetian limbs, and are only distinguished by contrast from the model that plumped herself down for his Danae. The reposing figure commonly called the Venus of the Tribuna, is an exquisite portrait of some favourite female, but not a Venus.

220. The women of Parmegiano are coquettes.

221. The women of Annibale Carracci are made up by imitation and vulgarity.

_Coroll._--Venus with Anchises, Juno with Jupiter, Omphale with Hercules, Diana and Calisto in the Farnese gallery, owe their charms and dignity of action to imitation; the celebrated three Maries, Magdalen penitent in her hempen shroud, are the conceptions of his own mind.

222. The women of Guido are actresses.

223. The forms of Domenichino's female faces are ideal; their expression is poised between pure helpless virginity and sainted ecstasy.

224. The veiled eyes of Guercino's females dart insidious fire.

225. Such is the fugitive essence, such the intangible texture of female genius, that few combinations of circ.u.mstances ever seemed to favour its transmission to posterity.

226. In an age of luxury women have taste, decide and dictate; for in an age of luxury woman aspires to the functions of man, and man slides into the offices of woman. The epoch of eunuchs was ever the epoch of viragoes.

227. Female affection is ever in proportion to the impression of superiority in the object. Woman fondles, pities, despises and forgets what is below her; she values, bears and wrangles with her equal; she adores what is above her.

228. Be not too squeamish in the choice of your materials; you will disgrace the best, if you cannot give value to the worst: the gold and azure wasted on Rosselli's[42] draperies cannot give value to their folds or hide the wants beneath.

229. There are moments when all are men, and only men, and ought to be no more; but the artist, who when his daily task is over can lock his meditation up with his tools--ranks with mechanics.

230. Date the death of emulation and of excellence from the moment of your employer's indifference; and mediocrity of success from the moment of his meddling with the process of your work.

231. One of the most unexplored regions of art are dreams, and what may be called the personification of sentiment: the Prophets, Sibyls and Patriarchs of Michael Angelo are so many branches of one great sentiment. The dream of Raffaello is a characteristic representation of a dream; the dream of Michael Angelo is moral inspiration, a sublime sentiment.

_Coroll._--Of three visionary subjects ascribed to Raffaello and known from the prints of Marc Antonio, Georgio Mantuano, and Agostino Veneziano, this alludes to the last, called by the Italians Stregozzo, by the French "La Carca.s.se:" an a.s.sociation of ideas big with the very elements of dreams, and almost a definition. That it be a conception of Raffaello rests on no other proof than the tablet of Marc Antonio and its own internal merit; which is so uniform that although one princ.i.p.al figure is undoubtedly transcribed from another in the cartoon of Pisa, the whole can never be considered as a pasticcio.

232. A trite subject becomes interesting by the introduction of appropriate ornaments; a small statue of Moses breaking the tables in the back-ground of a Salutation; and a number of Baptists in that of a Madonna with her son and Joseph, expressing the dissolution of the old and the inst.i.tution of the new doctrine, both by Michael Angelo,[43]

give unexpected sublimity to subjects for which Raffaelle and t.i.tiano had ransacked in vain the nursery and heaven.