seven discourses on art(艺术七讲座)-第17节
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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
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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。
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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
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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
c
