seven discourses on art-第15章
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ttention for higher excellences。 As for the lower arts； as they have been once discovered； they may be easily attained by those possessed of the former。
Raffaelle； who stands in general foremost of the first painters； owes his reputation； as I have observed； to his excellence in the higher parts of the art。 Therefore； his works in fresco ought to be the first object of our study and attention。 His easel…works stand in a lower degree of estimation； for though he continually； to the day of his death； embellished his works more and more with the addition of these lower ornaments； which entirely make the merit of some； yet he never arrived at such perfection as to make him an object of imitation。 He never was able to conquer perfectly that dryness； or even littleness of manner； which he inherited from his master。 He never acquired that nicety of taste in colours； that breadth of light and shadow； that art and management of uniting light； to light； and shadow to shadow； so as to make the object rise out of the ground with that plenitude of effect so much admired in the works of Correggio。 When he painted in oil； his hand seemed to be so cramped and confined that he not only lost that facility and spirit； but I think even that correctness of form； which is so perfect and admirable in his fresco works。 I do not recollect any pictures of his of this kind； except perhaps the 〃Transfiguration；〃 in which there are not some parts that appear to be even feebly drawn。 That this is not a necessary attendant on oil…painting； we have abundant instances in more modern painters。 Lodovico Caracci； for instance； preserved in his works in oil the same spirit； vigour； and correctness； which he had in fresco。 I have no desire to degrade Raffaelle from the high rank which he deservedly holds： but by comparing him with himself； he does not appear to me to be the same man in oil as in fresco。
From those who have ambition to tread in this great walk of the art； Michael Angelo claims the next attention。 He did not possess so many excellences as Raffaelle； but those he had were of the highest kind。 He considered the art as consisting of little more than what may be attained by sculpture； correctness of form； and energy of character。 We ought not to expect more than an artist intends in his work。 He never attempted those lesser elegancies and graces in the art。 Vasari says； he never painted but one picture in oil； and resolved never to paint another； saying it was an employment only fit for women and children。
If any man had a right to look down upon the lower accomplishments as beneath his attention； it was certainly Michael Angelo： nor can it be thought strange that such a mind should have slighted or have been withheld from paying due attention to all those graces and embellishments of art which have diffused such lustre over the works of other painters。
It must be acknowledged likewise； that together with these； which we wish he had more attended to； he has rejected all the false though specious ornaments which disgrace the works even of the most esteemed artists； and I will venture to say； that when those higher excellences are more known and cultivated by the artists and the patrons of arts； his fame and credit will increase with our increasing knowledge。 His name will then be held in the same veneration as it was in the enlightened age of Leo the Tenth： and it is remarkable that the reputation of this truly great man has been continually declining as the art itself has declined。 For I must remark to you； that it has long been much on the decline； and that our only hope of its revival will consist in your being thoroughly sensible of its depravation and decay。 It is to Michael Angelo that we owe even the existence of Raffaelle； it is to him Raffaelle owes the grandeur of his style。 He was taught by him to elevate his thoughts； and to conceive his subjects with dignity。 His genius； however； formed to blaze and to shine； might； like fire in combustible matter； for ever have lain dormant if it had not caught a spark by its contact with Michael Angelo： and though it never burst out with that extraordinary heat and vehemence； yet it must be acknowledged to be a more pure； regular； and chaste flame。 Though our judgment will upon the whole decide in favour of Raffaelle： yet he never takes that firm hold and entire possession of the mind in such a manner as to desire nothing else； and feel nothing wanting。 The effect of the capital works of Michael Angelo perfectly correspond to what Bourchardon said he felt from reading Homer。 His whole frame appeared to himself to be enlarged； and all nature which surrounded him diminished to atoms。
If we put those great artists in a light of comparison with each other； Raffaelle had more taste and fancy； Michael Angelo more genius and imagination。 The one excelled in beauty； the other in energy。 Michael Angelo has more of the poetical inspiration； his ideas are vast and sublime； his people are a superior order of beings； there is nothing about them； nothing in the air of their actions or their attitudes； or the style and cast of their very limbs or features； that puts one in mind of their belonging； to our own species。 Raffaelle's imagination is not so elevated； his figures are not so much disjoined from our own diminutive race of beings； though his ideas are chaste； noble； and of great conformity to their subjects。 Michael Angelo's works have a strong； peculiar； and marked character； they seem to proceed from his own mind entirely； and that mind so rich and abundant； that he never needed； or seemed to disdain； to look abroad for foreign help。 Raffaelle's materials are generally borrowed； though the noble structure is his own。 The excellency of this extraordinary man lay in the propriety； beauty； and majesty of his characters； his judicious contrivance of his composition； correctness of drawing； purity of taste； and the skilful accommodation of other men's conceptions to his own purpose。 Nobody excelled him in that judgment； with which he united to his own observations on nature the energy of Michael Angelo； and the beauty and simplicity of the antique。 To the question； therefore； which ought to hold the first rank； Raffaelle or Michael Angelo； it must be answered； that if it is to be given to him who possessed a greater combination of the higher qualities of the art than any other man； there is no doubt but Raffaelle is the first。 But if； according to Longinus； the sublime； being the highest excellence that human composition can attain to； abundantly compensates the absence of every other beauty； and atones for all other deficiencies； then Michael Angelo demands the preference。
These two extraordinary men carried some of the higher excellences of the art to a greater degree of perfection than probably they ever arrived at before。 They certainly have not been excelled； nor equalled since。 Many of their successors were induced to leave this great road as a beaten path； endeavouring to surprise and please by something uncommon or new。 When this desire after novelty has proceeded from mere idleness or caprice； it is not worth the trouble of criticism； but when it has been in consequence of a busy mind of a peculiar complexion； it is always striking and interesting； never insipid。
Such is the great style as it appears in those who possessed it at its height； in this； search after novelty in conception or in treating the subject has no place。
But there is another style； which； though inferior to the former； has still great merit； because it shows that those who cultivated it were men of lively and vigorous imagination。 This I call the original or characteristical style； this； being less referred to any true architype existing either in general or particular nature； must be supported by the painter's consistency in the principles he has assumed； and in the union and harmony of his whole design。 The excellency of every style； but I think of the subordinate ones more especially； will very much depend on preserving that union and harmony between all the component parts； that they appear to hang well together； as if the whole proceeded from one mind。 It is in the works of art；
