Aratra Pentelici, Seven Lectures on the Elements of Sculpture

By the most grotesque fatality, as if the personal bodily injury he had himself received had passed with a sickly echo into his mind also, Michael Angelo is always dwelling on this satyric form of countenance;—sometimes violently caricatures it, but never can help drawing it; and all the best profiles in this collection at Oxford have what Mr. Robinson calls a "nez retroussé;" but what is, in reality, the nose of the Greek Bacchic mask, treated as a dignified feature.

233. For the sake of readers who cannot examine the drawings themselves, and lest I should be thought to have exaggerated in any wise the statement of this character, I quote Mr. Robinson's description of the head, No. 9—a celebrated and entirely authentic drawing, on which, I regret to say, my own pencil comment in passing is merely "brutal lower lip, and broken nose":—

"This admirable study was probably made from nature, additional character and more powerful expression having been given to it by a slight exaggeration of details, bordering on caricature (observe the protruding lower lip, 'nez retroussé,' and overhanging forehead). The head, in profile, turned to the right, is proudly planted on a massive neck and shoulders, and the short tufted hair stands up erect. The expression is that of fierce, insolent self-confidence and malevolence; it is engraved in facsimile in Ottley's 'Italian School of Design,' and it is described in that work, p. 33, as 'Finely expressive of scornfulness and pride, and evidently a study from nature.'

"Michel Angelo has made use of the same ferocious-looking model on other occasions—see an instance in the well-known 'Head of Satan' engraved in Woodburn's Lawrence Gallery (No. 16), and now in the Malcolm Collection.

"The study on the reverse of the leaf is more lightly executed; it represents a man of powerful frame, carrying a hog or boar in his arms before him, the upper part of his body thrown back to balance the weight, his head hidden by that of the animal, which rests on the man's right shoulder.

"The power displayed in every line and touch of these drawings is inimitable—the head was in truth one of the 'teste divine,' and the hand which executed it the 'mano terribile,' so enthusiastically alluded to by Vasari."

234. Passing, for the moment, by No. 10, a "young woman of majestic character, marked by a certain expression of brooding melancholy," and "wearing on her head a fantastic cap or turban;"—by No. 11, a bearded man, "wearing a conical Phrygian cap, his mouth wide open," and his expression "obstreperously animated;"—and by No. 12, "a middle-aged or old man, with a snub nose, high forehead, and thin, scrubby hair," we will go on to the fairer examples of Divine heads in No. 32.

"This splendid sheet of studies is probably one of the 'carte stupendissime di teste divine,' which Vasari says (Vita, p. 272) Michel Angelo executed, as presents or lessons for his artistic friends. Not improbably it is actually one of those made for his friend Tommaso dei Cavalieri, who, when young, was desirous of learning to draw."

But it is one of the chief misfortunes affecting Michael Angelo's reputation, that his ostentatious display of strength and science has a natural attraction for comparatively weak and pedantic persons. And this sheet of Vasari's "teste divine" contains, in fact, not a single drawing of high quality—only one of moderate agreeableness, and two caricatured heads, one of a satyr with hair like the fur of animals, and one of a monstrous and sensual face, such as could only have occurred to the sculptor in a fatigued dream, and which in my own notes I have classed with the vile face in No. 45.

235. Returning, however, to the divine heads above it, I wish you to note "the most conspicuous and important of all," a study for one of the Genii behind the Sibylla Libyca. This Genius, like the young woman of a majestic character, and the man with his mouth open, wears a cap, or turban; opposite to him in the sheet, is a female in profile, "wearing a hood of massive drapery." And, when once your attention is directed to this point, you will perhaps be surprised to find how many of Michael Angelo's figures, intended to be sublime, have their heads bandaged. If you have been a student of Michael Angelo chiefly, you may easily have vitiated your taste to the extent of thinking that this is a dignified costume; but if you study Greek work, instead, you will find that nothing is more important in the system of it than a finished disposition of the hair; and as soon as you acquaint yourself with the execution of carved marbles generally, you will perceive these massy fillets to be merely a cheap means of getting over a difficulty too great for Michael Angelo's patience, and too exigent for his invention. They are not sublime arrangements, but economies of labor, and reliefs from the necessity of design; and if you had proposed to the sculptor of the Venus of Melos, or of the Jupiter of Olympia, to bind the ambrosial locks up in towels, you would most likely have been instantly bound, yourself; and sent to the nearest temple of Æsculapius.

236. I need not, surely, tell you,—I need only remind,—how in all these points, the Venetians and Correggio reverse Michael Angelo's evil, and vanquish him in good; how they refuse caricature, rejoice in beauty, and thirst for opportunity of toil. The waves of hair in a single figure of Tintoret's (the Mary Magdalen of the Paradise) contain more intellectual design in themselves alone than all the folds of unseemly linen in the Sistine chapel put together.

In the fourth and last place, as Tintoret does not sacrifice, except as he is forced by the exigencies of display, the face for the body, so also he does not sacrifice happiness for pain. The chief reason why we all know the "Last Judgment" of Michael Angelo, and not the "Paradise" of Tintoret, is the same love of sensation which makes us read the Inferno of Dante, and not his Paradise; and the choice, believe me, is our fault, not his; some farther evil influence is due to the fact that Michael Angelo has invested all his figures with picturesque and palpable elements of effect, while Tintoret has only made them lovely in themselves and has been content that they should deserve, not demand, your attention.

237. You are accustomed to think the figures of Michael Angelo sublime—because they are dark, and colossal, and involved, and mysterious—because in a word, they look sometimes like shadows, and sometimes like mountains, and sometimes like specters, but never like human beings. Believe me, yet once more, in what I told you long since—man can invent nothing nobler than humanity. He cannot raise his form into anything better than God made it, by giving it either the flight of birds or strength of beasts, by enveloping it in mist, or heaping it into multitude. Your pilgrim must look like a pilgrim in a straw hat, or you will not make him into one with cockle and nimbus; an angel must look like an angel on the ground, as well as in the air; and the much-denounced pre-Raphaelite faith that a saint cannot look saintly unless he has thin legs, is not more absurd than Michael Angelo's, that a Sybil cannot look Sibylline unless she has thick ones.

238. All that shadowing, storming, and coiling of his, when you look into it, is mere stage decoration, and that of a vulgar kind. Light is, in reality, more awful than darkness—modesty more majestic than strength; and there is truer sublimity in the sweet joy of a child, or the sweet virtue of a maiden, than in the strength of Antæus, or thunder-clouds of Ætna.

Now, though in nearly all his greater pictures, Tintoret is entirely carried away by his sympathy with Michael Angelo, and conquers him in his own field;—outflies him in motion, outnumbers him in multitude, outwits him in fancy, and outflames him in rage,—he can be just as gentle as he is strong: and that Paradise, though it is the largest picture in the world, without any question, is also the thoughtfulest, and most precious.

The Thoughtfulest!—it would be saying but little, as far as Michael Angelo is concerned.

239. For consider of it yourselves. You have heard, from your youth up (and all educated persons have heard for three centuries), of this Last Judgment of his, as the most sublime picture in existence.

The subject of it is one which should certainly be interesting to you, in one of two ways.

If you never expect to be judged for any of your own doings, and the tradition of the coming of Christ is to you as an idle tale—still, think what a wonderful tale it would be, were it well told. You are at liberty, disbelieving it, to range the fields—Elysian and Tartarean—of all imagination. You may play with it, since it is false; and what a play would it not be, well written? Do you think the tragedy, or the miracle play, or the infinitely Divina Commedia of the Judgment of the astonished living who were dead;—the undeceiving of the sight of every human soul, understanding in an instant all the shallow, and depth of past life and future,—face to face with both,—and with God:—this apocalypse to all intellect, and completion to all passion, this minute and individual drama of the perfected history of separate spirits, and of their finally accomplished affections!—think you, I say, all this was well told by mere heaps of dark bodies curled and convulsed in space, and fall as of a crowd from a scaffolding, in writhed concretions of muscular pain?

But take it the other way. Suppose you believe, be it never so dimly or feebly, in some kind of Judgment that is to be;—that you admit even the faint contingency of retribution, and can imagine, with vivacity enough to fear, that in this life, at all events, if not in another—there may be for you a Visitation of God, and a questioning—What hast thou done? The picture, if it is a good one, should have a deeper interest, surely on this postulate? Thrilling enough, as a mere imagination of what is never to be—now, as a conjecture of what is to be, held the best that in eighteen centuries of Christianity has for men's eyes been made;—Think of it so!

240. And then, tell me, whether you yourselves, or any one you have known, did ever at any time receive from this picture any, the smallest vital thought, warning, quickening, or help? It may have appalled, or impressed you for a time, as a thunder-cloud might: but has it ever taught you anything—chastised in you anything—confirmed a purpose—fortified a resistance—purified a passion? I know that, for you, it has done none of these things; and I know also that, for others, it has done very different things. In every vain and proud designer who has since lived, that dark carnality of Michael Angelo's has fostered insolent science, and fleshly imagination. Daubers and blockheads think themselves painters, and are received by the public as such, if they know how to foreshorten bones and decipher entrails; and men with capacity of art either shrink away (the best of them always do) into petty felicities and innocencies of genre painting—landscapes, cattle, family breakfasts, village schoolings, and the like; or else, if they have the full sensuous art-faculty that would have made true painters of them, being taught, from their youth up, to look for and learn the body instead of the spirit, have learned it, and taught it to such purpose, that at this hour, when I speak to you, the rooms of the Royal Academy of England, receiving also what of best can be sent there by the masters of France, contain not one picture honorable to the arts of their age; and contain many which are shameful in their record of its manners.

241. Of that, hereafter. I will close to-day giving you some brief account of the scheme of Tintoret's Paradise, in justification of my assertion that it is the thoughtfulest as well as mightiest picture in the world.

In the highest center is Christ, leaning on the globe of the earth, which is of dark crystal. Christ is crowned with a glory as of the sun, and all the picture is lighted by that glory, descending through circle beneath circle of cloud, and of flying or throned spirits.

The Madonna, beneath Christ, and at some interval from Him, kneels to Him. She is crowned with the Seven stars, and kneels on a cloud of angels, whose wings change into ruby fire, where they are near her.

The three great Archangels meeting from three sides, fly towards Christ. Michael delivers up his scales and sword. He is followed by the Thrones and Principalities of the Earth; so inscribed—Throni—Principatus. The Spirits of the Thrones bear scales in their hands; and of the Princedoms, shining globes: beneath the wings of the last of these are the four great teachers and lawgivers, St. Ambrose, St. Jerome, St. Gregory, St. Augustine, and behind St. Augustine stands his mother, watching him, her chief joy in Paradise.

Under the Thrones, are set the Apostles, St. Paul separated a little from the rest, and put lowest, yet principal; under St. Paul, is St. Christopher, bearing a massive globe, with a cross upon it; but to mark him as the Christ-bearer, since here in Paradise he cannot have the Child on his shoulders, Tintoret has thrown on the globe a flashing stellar reflection of the sun the head of Christ.

All this side of the picture is kept in glowing color,—the four Doctors of the church have golden miters and mantles; except the Cardinal, St. Jerome, who is in burning scarlet, his naked breast glowing, warm with noble life,—the darker red of his robe relieved against a white glory.

242. Opposite to Michael, Gabriel flies towards the Madonna, having in his hand the Annunciation lily, large, and triple-blossomed. Above him, and above Michael, equally, extends a cloud of white angels, inscribed "Serafini;" but the group following Gabriel, and corresponding to the Throni following Michael, is inscribed "Cherubini." Under these are the great prophets, and singers and foretellers of the happiness or of the sorrow of time. David, and Solomon, and Isaiah, and Amos of the herdsmen. David has a colossal golden psaltery laid horizontally across his knees;—two angels behind him dictate to him as he sings, looking up towards Christ; but one strong angel sweeps down to Solomon from among the cherubs, and opens a book, resting it on the head of Solomon, who looks down earnestly unconscious of it;—to the left of David, separate from the group of prophets, as Paul from the apostles, is Moses, dark-robed; in the full light, withdrawn far behind him, Abraham, embracing Isaac with his left arm, and near him, pale St. Agnes. In front, nearer, dark and colossal, stands the glorious figure of Santa Giustina of Padua; then a little subordinate to her, St. Catherine, and, far on the left, and high, St. Barbara leaning on her tower. In front, nearer, flies Raphael; and under him is the four-square group of the Evangelists. Beneath them, on the left, Noah; on the right, Adam and Eve, both floating unsupported by cloud or angel; Noah buoyed by the Ark, which he holds above him, and it is this into which Solomon gazes down, so earnestly. Eve's face is, perhaps, the most beautiful ever painted by Tintoret—full in light, but dark-eyed. Adam floats beside her, his figure fading into a winged gloom, edged in the outline of fig-leaves. Far down, under these, central in the lowest part of the picture, rises the Angel of the Sea, praying for Venice; for Tintoret conceives his Paradise as existing now, not as in the future. I at first mistook this soft Angel of the Sea for the Magdalen, for he is sustained by other three angels on either side, as the Magdalen is, in designs of earlier time, because of the verse, "There is joy in the presence of the angels over one sinner that repenteth." But the Magdalen is on the right, behind St. Monica; and on the same side, but lowest of all, Rachel, among the angels of her children, gathered now again to her forever.

243. I have no hesitation in asserting this picture to be by far the most precious work of art of any kind whatsoever, now existing in the world; and it is, I believe, on the eve of final destruction; for it is said that the angle of the great council-chamber is soon to be rebuilt; and that process will involve the destruction of the picture by removal, and, far more, by repainting. I had thought of making some effort to save it by an appeal in London to persons generally interested in the arts; but the recent desolation of Paris has familiarized us with destruction, and I have no doubt the answer to me would be, that Venice must take care of her own. But remember, at least, that I have borne witness to you to-day of the treasures that we forget, while we amuse ourselves with the poor toys, and the petty or vile arts, of our own time.

The years of that time have perhaps come, when we are to be taught to look no more to the dreams of painters, either for knowledge of Judgment, or of Paradise. The anger of Heaven will not longer, I think, be mocked for our amusement; and perhaps its love may not always be despised by our pride. Believe me, all the arts, and all the treasures of men, are fulfilled and preserved to them only, so far as they have chosen first, with their hearts, not the curse of God, but His blessing. Our Earth is now incumbered with ruin, our Heaven is clouded by Death. May we not wisely judge ourselves in some things now, instead of amusing ourselves with the painting of judgments to come?

1

Photography cannot exhibit the character of large and finished sculpture; but its audacity of shadow is in perfect harmony with the more roughly picturesque treatment necessary in coins. For the rendering of all such frank relief, and for the better explanation of forms disturbed by the luster of metal or polished stone, the method employed in the plates of this volume will be found, I believe, satisfactory. Casts are first taken from the coins, in white plaster; these are photographed, and the photograph printed by the autotype process. Plate XII. is exceptional, being a pure mezzotint engraving of the old school, excellently carried through by my assistant, Mr. Allen, who was taught, as a personal favor to myself, by my friend, and Turner's fellow-worker, Thomas Lupton. Plate IV. was intended to be a photograph from the superb vase in the British Museum, No. 564 in Mr. Newton's Catalogue; but its variety of color defied photography, and after the sheets had gone to press I was compelled to reduce Le Normand's plate of it, which is unsatisfactory, but answers my immediate purpose.

The enlarged photographs for use in the Lecture Room were made for me with most successful skill by Sergeant Spackman, of South Kensington; and the help throughout rendered to me by Mr. Burgess is acknowledged in the course of the Lectures; though with thanks which must remain inadequate lest they should become tedious; for Mr. Burgess drew the subjects of Plates III., X., and XIII.; and drew and engraved every wood-cut in the book.

2

It is included in this edition. See Lecture VII., pp. 132-158.

3

Lectures on Art, 1870.

4

A pamphlet by the Earl of Southesk, 'Britain's Art Paradise' (Edmonston and Douglas, Edinburgh), contains an entirely admirable criticism of the most faultful pictures of the 1871 Exhibition. It is to be regretted that Lord Southesk speaks only to condemn; but indeed, in my own three days' review of the rooms, I found nothing deserving of notice otherwise, except Mr. Hook's always pleasant sketches from fisher-life, and Mr. Pettie's graceful and powerful, though too slightly painted, study from Henry IV.

5

I had a real plowshare on my lecture-table; but it would interrupt the drift of the statements in the text too long if I attempted here to illustrate by figures the relation of the colter to the share, and of the hard to the soft pieces of metal in the share itself.

6

A sphere of rock crystal, cut in Japan, enough imaginable by the reader, without a figure.

7

One of William Hunt's peaches; not, I am afraid, imaginable altogether, but still less representable by figure.

8

The crystal ball above mentioned.

9

All grandest effects in moldings may be, and for the most part have been, obtained by rolls and cavettos of circular (segmental) section. More refined sections, as that of the fluting of a Doric shaft, are only of use near the eye and in beautiful stone; and the pursuit of them was one of the many errors of later Gothic. The statement in the text that the moldings, even of best time, "have no real relation to construction," is scarcely strong enough: they in fact contend with, and deny the construction, their principal purpose seeming to be the concealment of the joints of the voussoirs.

10

Some of the most precious work done for me by my assistant, Mr. Burgess, during the course of these Lectures, consisted in making enlarged drawings from portions of photographs. Plate III. is engraved from a drawing of his, enlarged from the original photograph of which Plate I. is a reduction.

11

Glance forward at once to § 75, read it, and return to this.

12

There is a primary and vulgar sense of 'exhibited' in Lucian's mind; but the higher meaning is involved in it.

13

In the Greek, 'ambrosial.' Recollect always that ambrosia, as food of gods, is the continual restorer of strength; that all food is ambrosial when it nourishes, and that the night is called 'ambrosial' because it restores strength to the soul through its peace, as, in the 23d Psalm, the stillness of waters.

14

I have italicized this final promise of blessedness, given by the noble Spirit of Workmanship. Compare Carlyle's fifth Latter-day Pamphlet, throughout; but especially pp. 12-14, in the first edition.

15

"Falsely represented," would be the better expression. In the cast of the tomb of Queen Eleanor, for a single instance, the Gothic foliage, of which one essential virtue is its change over every shield, is represented by a repetition of casts from one mold, of which the design itself is entirely conjectural.

16

I shall be obliged in future Lectures, as hitherto in my other writings, to use the terms Idolatry and Imagination in a more comprehensive sense; but here I use them for convenience' sake, limitedly, to avoid the continual occurrence of the terms noble and ignoble, or false and true, with reference to modes of conception.

17

"And in sum, he himself (Prometheus) was the master-maker, and Athena worked together with him, breathing into the clay, and caused the molded things to have soul (psyche) in them."—Lucian, Prometheus.

18

His relations with the two great Titans, Themis and Mnemosyne, belong to another group of myths. The father of Athena is the lower and nearer physical Zeus, from whom Metis, the mother of Athena, long withdraws and disguises herself.

19

Ante, § 30.

20

The Latin verses are of later date; the contemporary plain prose retains the Venetian gutturals and aspirates.

21

Ante, § 44.

22

"Lectures on Art," § 95.

23

"Ethics of the Dust," Lecture X.

24

The best modern illustrated scientific works show perfect faculty of representing monkeys, lizards, and insects; absolute incapability of representing either a man, a horse, or a lion.

25

See date of delivery of Lecture. The picture was of a peasant girl of eleven or twelve years old, peeling carrots by a cottage fire.

26

In Dürer's 'Melancholia.'

27

Turner's, in the Hakewill series.

28

"Lectures on Art," § 116.

29

Nothing is more wonderful, or more disgraceful, among the forms of ignorance engendered by modern vulgar occupations in pursuit of gain, than the unconsciousness, now total, that fine art is essentially Athletic. I received a letter from Birmingham, some little time since, inviting me to see how much, in glass manufacture, "machinery excelled rude hand-work." The writer had not the remotest conception that he might as well have asked me to come and see a mechanical boat-race rowed by automata, and "how much machinery excelled rude arm-work."