seven discourses on art(艺术七讲座)-第14节
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those higher excellences of which the art is capable； and which ought to be
required in every considerable production。 By them； and their imitators；
a style merely ornamental has been disseminated throughout all Europe。
Rubens carried it to Flanders； Voet to France； and Luca Giordano to Spain
and Naples。
The Venetian is indeed the most splendid of the schools of elegance；
and it is not without reason that the best performances in this lower school
are valued higher than the second…rate performances of those above them；
for every picture has value when it has a decided character； and is
excellent in its kind。 But the student must take care not to be so much
dazzled with this splendour as to be tempted to imitate what must
ultimately lead from perfection。 Poussin； whose eye was always steadily
fixed on the sublime； has been often heard to say； 〃That a particular
attention to colouring was an obstacle to the student in his progress to the
great end and design of the art； and that he who attaches himself to this
principal end will acquire by practice a reasonably good method of
colouring。〃
Though it be allowed that elaborate harmony of colouring； a brilliancy
of tints； a soft and gradual transition from one to another； present to the
eye what an harmonious concert of music does to the ear； it must be
remembered that painting is not merely a gratification of the sight。 Such
excellence； though properly cultivated where nothing higher than elegance
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is intended； is weak and unworthy of regard； when the work aspires to
grandeur and sublimity。
The same reasons that have been urged why a mixture of the Venetian
style cannot improve the great style will hold good in regard to the
Flemish and Dutch schools。 Indeed； the Flemish school； of which
Rubens is the head； was formed upon that of the Venetian； like them； he
took his figures too much from the people before him。 But it must be
allowed in favour of the Venetians that he was more gross than they； and
carried all their mistaken methods to a far greater excess。 In the Venetian
school itself； where they all err from the same cause； there is a difference
in the effect。 The difference between Paulo and Bassano seems to be
only that one introduced Venetian gentlemen into his pictures； and the
other the boors of the district of Bassano； and called them patriarchs and
prophets。
The painters of the Dutch school have still more locality。 With them；
a history piece is properly a portrait of themselves； whether they describe
the inside or outside of their houses； we have their own people engaged in
their own peculiar occupations； working or drinking； playing or fighting。
The circumstances that enter into a picture of this kind are so far from
giving a general view of human life that they exhibit all the minute
particularities of a nation differing in several respects from the rest of
mankind。 Yet； let them have their share of more humble praise。 The
painters of this school are excellent in their own way； they are only
ridiculous when they attempt general history on their own narrow
principles； and debase great events by the meanness of their characters。
Some inferior dexterity； some extraordinary mechanical power； is
apparently that from which they seek distinction。 Thus； we see； that
school alone has the custom of representing candle…light； not as it really
appears to us by night； but red； as it would illuminate objects to a spectator
by day。 Such tricks； however pardonable in the little style； where petty
effects are the sole end； are inexcusable in the greater； where the attention
should never be drawn aside by trifles； but should be entirely occupied by
the subject itself。
The same local principles which characterise the Dutch school extend
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even to their landscape painters； and Rubens himself； who has painted
many landscapes； has sometimes transgressed in this particular。 Their
pieces in this way are； I think； always a representation of an individual
spot； and each in its kind a very faithful but very confined portrait。
Claude Lorraine； on the contrary； was convinced that taking nature as
he found it seldom produced beauty。 His pictures are a composition of
the various draughts which he has previously made from various beautiful
scenes and prospects。 However； Rubens in some measure has made
amends for the deficiency with which he is charged； he has contrived to
raise and animate his otherwise uninteresting views； by introducing a
rainbow； storm； or some particular accidental effect of light。 That the
practice of Claude Lorraine； in respect to his choice； is to be adopted by
landscape painters； in opposition to that of the Flemish and Dutch schools；
there can be no doubt； as its truth is founded upon the same principle as
that by which the historical painter acquires perfect form。 But whether
landscape painting has a right to aspire so far as to reject what the painters
call accidents of nature is not easy to determine。 It is certain Claude
Lorraine seldom； if ever； availed himself of those accidents； either he
thought that such peculiarities were contrary to that style of general nature
which he professed； or that it would catch the attention too strongly； and
destroy that quietness and repose which he thought necessary to that kind
of painting。
A portrait painter likewise； when he attempts history； unless he is upon
his guard； is likely to enter too much into the detail。 He too frequently
makes his historical heads look like portraits； and this was once the
custom amongst those old painters who revived the art before general
ideas were practised or understood。 A history painter paints man in
general； a portrait painter； a particular man； and consequently a defective
model。
Thus an habitual practice in the lower exercises of the art will prevent
many from attaining the greater。 But such of us who move in these
humbler walks of the profession are not ignorant that； as the natural
dignity of the subject is less； the more all the little ornamental helps are
necessary to its embellishment。 It would be ridiculous for a painter of
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domestic scenes； of portraits； landscapes； animals； or of still life； to say
that he despised those qualities which have made the subordinate schools
so famous。 The art of colouring； and the skilful management of light and
shadow； are essential requisites in his confined labours。 If we descend
still lower； what is the painter of fruit and flowers without the utmost art in
colouring； and what the painters call handling； that is； a lightness of pencil
that implies great practice； and gives the appearance of being done with
ease？ Some here； I believe； must remember a flower…painter whose boast
it was that he scorned to paint for the million； no； he professed to paint in
the true Italian taste； and despising the crowd； called strenuously upon the
few to admire him。 His idea of the Italian taste was to paint as black and
dirty as he could； and to leave all clearness and brilliancy of colouring to
those who were fonder of money than of immortality。 The consequence
was such as might be expected。 For these pretty excellences are here
essential beauties； and without this merit the artist's work will be more
short…lived than the objects of his imitation。
From what has been advanced； we must now be convinced
