seven discourses on art(艺术七讲座)-第16节
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sinking into the insipid； taking away its marked character； and weakening
its expression。
This remark is true to a certain degree with regard to the passions。 If
you mean to preserve the most perfect beauty in its most perfect state； you
cannot express the passions； which produce （all of them） distortion and
deformity； more or less； in the most beautiful faces。
Guido； from want of choice in adapting his subject to his ideas and his
powers； or in attempting to preserve beauty where it could not be
preserved has in this respect succeeded very ill。 His figures are often
engaged in subjects that required great expression： yet his 〃Judith and
Holofernes；〃 the 〃Daughter of Herodias with the Baptist's Head；〃 the
〃Andromeda；〃 and even the 〃Mothers of the Innocents；〃 have little more
expression than his 〃Venus attired by the Graces。〃
Obvious as these remarks appear； there are many writers on our art；
who； not being of the profession； and consequently not knowing what can
or what cannot be done； have been very liberal of absurd praises in their
descriptions of favourite works。 They always find in them what they are
resolved to find。 They praise excellences that can hardly exist together；
and above all things are fond of describing with great exactness the
expression of a mixed passion； which more particularly appears to me out
of the reach of our art。
Such are many disquisitions which I have read on some of the cartoons
and other pictures of Raffaelle； where the critics have described their own
imagination； or indeed where the excellent master himself may have
attempted this expression of passions above the powers of the art； and has；
therefore； by an indistinct and imperfect marking； left room for every
imagination； with equal probability to find a passion of his own。 What
has been； and what can be done in the art； is sufficiently difficult； we need
not be mortified or discouraged for not being able to execute the
conceptions of a romantic imagination。 Art has its boundaries； though
imagination has none。 We can easily； like the ancients； suppose a Jupiter
to be possessed of all those powers and perfections which the subordinate
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Deities were endowed with separately。 Yet； when they employed their art
to represent him； they confined his character to majesty alone。 Pliny；
therefore； though we are under great obligations to him for the information
he has given us in relation to the works of the ancient artists； is very
frequently wrong when he speaks of them； which he does very often in the
style of many of our modern connoisseurs。 He observes that in a statue
of Paris； by Fuphranor； you might discover at the same time three different
characters； the dignity of a judge of the goddesses； the lover of Helen； and
the conqueror of Achilles。 A statue in which you endeavour to unite
stately dignity； youthful elegance； and stern valour； must surely possess
none of these to any eminent degree。
From hence it appears that there is much difficulty as well as danger in
an endeavour to concentrate upon a single subject those various powers
which； rising from different points； naturally move in different directions。
The summit of excellence seems to be an assemblage of contrary
qualities； but mixed； in such proportions； that no one part is found to
counteract the other。 How hard this is to be attained in every art； those
only know who have made the greatest progress in their respective
professions。
To conclude what I have to say on this part of the subject； which I
think of great importance； I wish you to understand that I do not
discourage the younger students from the noble attempt of uniting all the
excellences of art； but to make them aware that； besides the difficulties
which attend every arduous attempt； there is a peculiar difficulty in the
choice of the excellences which ought to be united； I wish you to attend to
this； that you may try yourselves； whenever you are capable of that trial；
what you can； and what you cannot do： and that； instead of dissipating
your natural faculties over the immense field of possible excellence； you
may choose some particular walk in which you may exercise all your
powers； in order each of you to be the first in his way。 If any man shall
be master of such a transcendant； commanding； and ductile genius； as to
enable him to rise to the highest； and to stoop to the lowest flights of art；
and to sweep over all of them unobstructed and secure； he is fitter to give
example than to receive instruction。
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Having said thus much on the union of excellences； I will next say
something of the subordination in which various excellences ought to be
kept。
I am of opinion that the ornamental style； which in my discourse of
last year I cautioned you against considering as principal； may not be
wholly unworthy the attention of those who aim even at the grand style；
when it is properly placed and properly reduced。
But this study will be used with far better effect； if its principles are
employed in softening the harshness and mitigating the rigour of the great
style； than if in attempt to stand forward with any pretensions of its own to
positive and original excellence。
It was thus Lodovico Caracci； whose example I formerly
recommended to you； employed it。 He was acquainted with the works
both of Correggio and the Venetian painters； and knew the principles by
which they produced those pleasing effects which at the first glance
prepossess us so much in their favour； but he took only as much from each
as would embellish； but not overpower； that manly strength and energy of
style； which is his peculiar character。
Since I have already expatiated so largely in my former discourse； and
in my present； upon the styles and characters of painting； it will not be at
all unsuitable to my subject if I mention to you some particulars relative to
the leading principles； and capital works of those who excelled in the great
style； that I may bring you from abstraction nearer to practice； and by
exemplifying the propositions which I have laid down； enable you to
understand more clearly what I would enforce。
The principal works of modern art are in fresco； a mode of painting
which excludes attention to minute elegancies： yet these works in fresco
are the productions on which the fame of the greatest masters depend：
such are the pictures of Michael Angelo and Raffaelle in the Vatican； to
which we may add the cartoons； which； though not strictly to be called
fresco； yet may be put under that denomination； and such are the works of
Giulio Romano at Mantua。 If these performances were destroyed； with
them would be lost the best part of the reputation of those illustrious
painters； for these are justly considered as the greatest efforts of our art
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which the world can boast。 To these； therefore； we should principally
direct our attention 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
