beacon lights of history-iii-2-第31章
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workers in mosaics; but Cimabue abandoned this servile copying; and
gave a new expression to heads; and grouped his figures。 Under
Giotto; who was contemporary with Dante; drawing became still more
correct; and coloring softer。 After him; painting was rapidly
advanced。 Pietro della Francesca was the father of perspective;
Domenico painted in oil; discovered by Van Eyck in Flanders; in
1410; Masaccio studied anatomy; gilding disappeared as a background
around pictures。 In the fifteenth century the enthusiasm for
painting became intense; even monks became painters; and every
convent and church and palace was deemed incomplete without
pictures。 But ideal beauty and harmony in coloring were still
wanting; as well as freedom of the pencil。 Then arose Da Vinci and
Michael Angelo; who practised the immutable principles by which art
could be advanced; and rapidly following in their steps; Fra
Bartolommeo; Fra Angelico; Rossi; and Andrea del Sarto made the age
an era in painting; until the art culminated in Raphael and
Corregio and Titian。 And divers cities of ItalyBologna; Milan;
Parma; and Venicedisputed with Rome and Florence for the empire
of art; as also did many other cities which might be mentioned;
each of which has a history; each of which is hallowed by poetic
associations; so that all men who have lived in Italy; or even
visited it; feel a peculiar interest in these cities;an interest
which they can feel in no others; even if they be such capitals as
London and Paris。 I excuse this extravagant admiration for the
wonderful masterpieces produced in that age; making marble and
canvas eloquent with the most inspiring sentiments; because; wrapt
in the joys which they excite; the cultivated and imaginative man
forgetsand rejoices that he can forgetthe untidiness of that
World Capital; the many reminders of ages of unthrift; which stare
ordinary tourists in the face; and all the other disgusting
realities which philanthropists deplore so loudly in that
degenerate but classical and ever…to…be…hallowed land。 For; come
what will; in spite of past turmoils it has been the scene of the
highest glories of antiquity; calling to our minds saints and
martyrs; as well as conquerors and emperors; and revealing at every
turn their tombs and broken monuments; and all the hoary remnants
of unsurpassed magnificence; as well as preserving in churches and
palaces those wonders which were created when Italy once again
lived in the noble aspiration of making herself the centre and the
pride of the new civilization。
Da Vinci; the oldest of the great masters who immortalized that
era; died in 1519; in the arms of Francis I。 of France; and Michael
Angelo received his mantle。 The young sculptor was taken away from
his chisel to paint; for Pope Julius II。; the ceiling of the
Sistine Chapel。 After the death of his patron Lorenzo; he had
studied and done famous work in marble at Bologna; at Rome; and
again at Florence。 He had also painted some; and with such
immediate success that he had been invited to assist Da Vinci in
decorating a hall in the ducal palace at Florence。 But sculpture
was his chosen art; and when called to paint the Sistine Chapel; he
implored the Pope that he might be allowed to finish the mausoleum
which he had begun; and that Raphael; then dazzling the whole city
by his unprecedented talents; might be substituted for him in that
great work。 But the Pope was inflexible; and the great artist
began his task; assisted by other painters; however; he soon got
disgusted with them and sent them away; and worked alone。 For
twenty months he toiled; rarely seen; living abstemiously; absorbed
utterly in his work of creation; and the greater portion of the
compartments in the vast ceiling was finished before any other
voice than his; except the admiring voice of the Pope; pronounced
it good。
It would be useless to attempt to describe those celebrated
frescos。 Their subjects were taken from the Book of Genesis; with
great figures of sibyls and prophets。 They are now half…concealed
by the accumulated dust and smoke of three hundred years; and can
be surveyed only by reclining at full length on the back。 We see
enough; however; to be impressed with the boldness; the majesty;
and the originality of the figures;their fidelity to nature; the
knowledge of anatomy displayed; and the disdain of inferior arts;
especially the noble disdain of appealing to false and perverted
taste; as if he painted from an exalted ideal in his own mind;
which ideal is ever associated with creative power。
It is this creative power which places Michael Angelo at the head
of the artists of his great age; and not merely the power to create
but the power of realizing the most exalted conceptions。 Raphael
was doubtless superior to him in grace and beauty; even as Titian
afterwards surpassed him in coloring。 He delighted; like Dante; in
the awful and the terrible。 This grandeur of conception was
especially seen in his Last Judgment; executed thirty years
afterwards; in completion of the Sistine Chapel; the work on which
had been suspended at the death of Julius。 This vast fresco is
nearly seventy feet in height; painted upon the wall at the end of
the chapel; as an altar…piece。 No subject could have been better
adapted to his genius than thisthe day of supernal terrors (dies
irae; dies illa); when; according to the sentiments of the Middle
Ages; the doomed were subjected to every variety of physical
suffering; and when this agony of pain; rather than agony of
remorse; was expressed in tortured limbs and in faces writhing with
demoniacal despair。 Such was the variety of tortures which he
expressed; showing an unexampled richness in imaginative powers;
that people came to see it from the remotest parts of Italy。 It
made a great sensation; like the appearance of an immortal poem;
and was magnificently rewarded; for the painter received a pension
of twelve hundred golden crowns a year;a great sum in that age。
But Michael Angelo did not paint many pieces; he confined himself
chiefly to cartoons and designs; which; scattered far and wide;
were reproduced by other artists。 His most famous cartoon was the
Battle of Pisa; the one executed for the ducal palace of Florence;
as pendant to one by Leonardo da Vinci; then in the height of his
fame。 This picture was so remarkable for the accuracy of drawing;
and the variety and form of expression; that Raphael came to
Florence on purpose to study it; and it was the power of giving
boldness and dignity and variety to the human figure; as shown in
this painting; which constitutes his great originality and
transcendent excellence。 The great creations of the painters; in
modern times as well as in the ancient; are those which represent
the human figure in its ideal excellence;which of course implies
what is most perfect; not in any one man or woman; but in men and
women collectively。 Hence the greatest of painters rarely have
stooped to landscape painting; since no imaginary landscape can
surpass what everybody has seen in nature。 You cannot improve on
the colors of the rainbow; or the gilded clouds of sunset; or the
shadows of the mountain; or the graceful form of trees; or the
varied tints of leaves and flowers; but you can represent the
figure of a man or woman more beautiful than any one man or woman
that has ever appeared。 What mortal woman ever expressed the
ethereal beauty depicted in a Madonna of Raphael or Murillo? And
what man ever had such a sublimity of aspect and figure as the
creations of Michael Angelo? Why; 〃a beggar;〃 says one of his
greatest critics; 〃arose from his hand the patriarch of poverty;
the hump of his dwarf is impressed with dignity; his infants are
men; and his men are giants。〃 And; says another critic; 〃he is the
inventor of epic painting; in that sublime circle of the Sistine
Chapel which exhibits the origin; progres